JANUARY 2006 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE DIRECTOR

The “Eastman Ideal”

Dear Eastman Alumni: We are guided at Eastman by a mission devoted to artistry, scholarship, leadership and community. Initially George Eastman and Rush Rhees, then NOTES University President, conceived of a music conservatory within a university Volume 24, Number 1 setting, which would stimulate the artist/scholar, the “thinking artist,” January 2006 so to speak. Howard Hanson would embrace this ideal and then challenge students and Editor faculty to engage themselves in innovation and the issues of their communi- David Raymond ties. Successive generations of Eastman alumni, faculty, and administration Assistant editor have emulated these admirable qualities. Juliet Grabowski Now, however, we are all called to a more aggressive leadership, a more Contributing writers significant commitment to community, while also attaining higher and higher Martial Bednar Sally Cohen levels of artistic and academic expertise. The dramatic Johannes Müller-Stosch transitional aspects of the current music world demand Howard Potter our attention and dedication like never before. The Russell Scarbrough “Eastman Ideal” can and must offer ideas and solu- Contributing photographers tions to today’s cultural challenges. In my Convocation Richard Baker address (in this issue; see p. 13) I call for zealotry Kurt Brownell Gelfand-Piper Photography from our students. In this message, I call to the whole Annette Lein Eastman family for the same. Nathan Martel The Eastman School of Music strives: Andy Olenick • To give the student an intensive professional edu- Christian Steiner John Widman cation in his/her musical discipline; Jerry Wolf • To prepare each student with a solid foundation in music and an expansive education in the liberal arts; Photography coordinator James Undercofler Nathan Martel • To develop an informed and inquiring mind that Design enables each graduate to engage the fundamental issues of his or her art and to Steve Boerner Typography & Design become an effective cultural leader in society; • And, through its community and continuing education programs, to offer Published twice a year by the Office of the highest quality music instruction and performance opportunities for stu- Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY, dents of all ages. 14604, (585) 274-1050. [email protected]

Printed on recycled paper: 100% recycled fibers, 50% post consumer waste, processed chlorine-free. James Undercofler

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY (TOP) AND KURT BROWNELL

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 INSIDE

FEATURES 5 Music first, everything else second Chuck Daellenbach receives ESM’s Alumni Achievement Award on May 15, 2005 8 Healing history’s wounds Eastman students play in a concert marking the 60th anniversary of Hiroshima bombing 15 Permanent splendor EASTMAN’S STUNNING NEW ITALIAN BAROQUE ORGAN, INSTALLED LAST SUMMER Eastman’s Italian Baroque organ brings AT THE MEMORIAL ART GALLERY, SOUNDS AS BEAUTIFUL AS IT LOOKS 15 18th-century art, music and history into the 21st century 18 “Dear Lou ...” The irreplaceable Alec Wilder and the “letters he never mailed” to Lou Ouzer

CONVOCATION 13 The intrinsic power of music, today Turning virtuoso musicians into visionary zealots

ROBERT WARD BRINGS 50 YEARS EASTMAN MUSICIANS BRING CONVERSATION 27 OF OPERATIC EXPERTISE TO EASTMAN’S 8 THE ST. MATTHEW PASSION PRODUCTION OF HIS CLAUDIA LEGARE TO HIROSHIMA 17 Robert Ward: “I am completely eclectic!” The Crucible composer (BM ’39) visits Eastman

2 COMING EVENTS 3 LETTERS 4 CORRECTIONS 23 SCHOOL NEWS 32 IN TRIBUTE

CELEBRATING 35 ALUMNI NOTES THE BUBBLY 18 39 EASTMAN ALUMNI ON CD FRIENDSHIP OF ALEC WILDER AND 44 SHOWING OFF LOU OUZER 50 FACULTY NOTES 51 EASTMAN FACULTY ON CD 52 STUDENT NOTES

ON THE COVER: Eastman’s Italian Baroque organ, brought from Germany to Rochester in July 2005, is now the ON THE INTERNET: More news about the Eastman School of Music, magnificent focal point of the Memorial Art Gallery’s Fountain Court. Photograph by Andy Olenick. including the full text of Notes and expanded alumni information, can be found online at www.esm.rochester.edu.

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY (HANS DAVIDSSON, ROBERT WARD) AND LOUIS OUZER (ALEC WILDER)

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Coming Events Did you know… February 16, 2006 • Get the Eastman Edge and Alarm Will Sound concert, New York City The Eastman School has a March 27–31, 2006 planned giving society? • Women in Music Festival

April 6–9, 2006 HE KILBOURN SOCIETY recognizes • Eastman Opera Theatre: individuals whose support of the Eastman Massenet: Cendrillon (Cinderella) T School will be realized through a will April 20, 2006 provision, a life-income gift, or other type of gift • Alumni Reception at MENC, planning vehicle. These commitments are essential Salt Lake City to the School, helping to ensure its future financial May 2006 health and well-being. • 25th Anniversary of Kneisel Lieder Competition The Society humbly carries the name

June–August 2006 of Maria Kilbourn Eastman, mother • Summer Session of George Eastman. Her legacy of unwavering support to her son July 2–6, 2006 • Alumni Reception at American provided him “with the stability Guild of Organists Convention, at the core of his existence, from Chicago which he could soar into the July–August 2006 heady atmosphere of risk taking • Glimmerglass Opera, and adventure.” Cooperstown, NY: premiere performances of The Greater The Kilbourn Society perpetuates a Good by Stephen Hartke, parallel legacy, providing the stability commissioned by Hanson from which the School will forever Institute for American Music fulfill its mission. September 13–17, 2006 • Festival Honoring the Centenary of Dmitri Shostakovich and 10th Anniversary of the Death of Mieczyslaw Weinberg

Eastman Weekend for more information, contact October 20–22, 2006 Karen A. Amico, Director of Individual Giving Eastman School of Music Save the date and make your plans to return to Rochester. For the (585) 274-1040 / [email protected] entire Eastman community: alumni, http://rochester.plannedgifts.org students and parents, faculty and staff. Combining the best of Alumni Weekend, Reunion, Family Weekend, and Eastman Community Music Maria Kilbourn School Open House. You won’t Eastman want to miss the music, the recon- nections, and the fun!

PHOTO COURTESY GEORGE EASTMAN HOUSE

 Eastman Notes | January 2006

2005013 Kilbourn Society Ad.indd1 1 12/23/05 12:28:07 AM

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 LETTERS

work with the orchestra was Carmina Burana, A pioneering and he chose the Macalester Choir to per- woman composer '(-, form the work. We had a good time talking about old times during his rehearsals. As an Eastman woman graduate, I was in- I last saw him while I was teaching in terested in the letter from composer Nancy Wisconsin and was invited by him to par- Hays Van de Vate (December 2004, p. 3) ticipate in the WSMA Convention at the regarding early female recipients of doctor- University of Wisconsin-Madison. Again ates in music composition in the U.S. It par- he made time from his busy schedule to sit ticularly caught my attention because I may down and talk over what I was doing and have studied with another—Dr. Ruth Shaw how I got to Wisconsin. Wylie, a composer and then-recent Eastman These were wonderful times for me and I graduate—at Missouri University. Columbia, will miss him very much. MO, starting in 1943. Likewise, Ruth was a tower of strength I cannot vouch for her degree but do re- @KD;
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CKI?9 for me while I was working on my thesis. Dr. call comments Dr. Wylie made regarding [Allen] McHose requested I take up the topic her study with Howard Hanson and of his of Cyril Scott, the English composer, as this remarkable ability to identify with the varied one of the guest conductors was Mr. Fennell. was a large gap in his attempt to make all in- styles of his students, even when they were In the 1990s, after I had retired, I enjoyed formation available to students in his Styles quite different from his own. If her doctorate Professor Fennell’s guest appearance leading course. Ruth sent off for materials for me was in composition, which is my recollection, the UW-SP Wind Ensemble. and, along with my advisor, Thomas Canning, it would be nice to see that recognized and While a student at the Eastman School, I guided me through the pitfalls of academia. perhaps a review would ascertain whether had the extreme pleasure of taking a bibliog- In 1985 I was head of the music depart- Eastman awarded similar degrees to any raphy class with Dr. Watanabe. I purchased ment at Alleghany College. My artist-in- other women during the ’40s and ’50s. her book, utilized it when I studied toward residence, Alec Chien, was going to be —Florence Lockridge (MAS ’49) a doctorate at the University of Colorado in married in a town just outside Rochester. Maryville, TN Boulder, and still refer to it as a researcher. After the wedding, my wife and I took a trip She was scholarly, knowing, and effervescent to Eastman ... The place was so changed Ruth Shaw Wylie did receive a PhD in compo- in class, always keeping an open relationship I hardly recognized it. As we turned to go, sition from Eastman in 1943. We’ll research to with her students in the seminar. Ruth was coming down the street. She recog- see if any other women received this degree in —Geary Larrick (DMA ’70) nized me and we fell into a wonderful topic the ’40s and ’50s, and report on it in a future Stevens Point, WI of “old times.” We discussed the School, her issue of Notes. It was with great sadness that I opened new job, Howard Hanson, Ernest Bloch, Paul Notes and read of the passing of Fred Fennell Hindemith, and many more that had taught Remembering Frederick and Ruth Watanabe. Both these people had a at the school during her tenure. That was great influence on my tenure at the Eastman the last time I saw Ruth and I treasure that Fennell, Ruth Watanabe School. chance meeting. When I was a graduate student at Eastman I was a charter member of the Eastman With the passing of Ruth and Fred, the last from 1967 to 1970 in percussion performance Wind Ensemble. Fred chose me to be a clar- two links of my Eastman days are gone. I now and music literature … I performed with the inetist in … the Mozart Serenade for 13 feel a little alone knowing they are no longer Eastman Wind Ensemble under the direction Wind Instruments, and after rehearsals he around, but rest assured, these two people of Dr. Donald Hunsberger. We rehearsed each would take some of us to Villanova’s (is it were what Eastman is all about. I will fondly week, gave concerts in the Eastman Theatre, still there?) for refreshments. We had a great remember my student days there and the toured to Canada, and recorded for Deutsche time talking about all aspects of music. great friendships I had with two of its giants. Grammophon. I think the Wind Ensemble was the great- —Robert Bond, BM ’52 In the early 1970s, I was a percussion est innovation he brought about during my Meadville, PA instructor at Wisconsin State University, tenure there (1950¬52). Stevens Point, for music department chair Later, when he became associate conduc- Villanova’s is no longer around, but many Donald E. Greene (MM ’64). During that tor of the Minneapolis Symphony, our paths fond memories of Frederick Fennell and Ruth time, I attended the Percussive Arts Society crossed again. I was principal clarinet in the Watanabe are. We’ll print more in the June national conference in Chicago … There I St. Paul Chamber Orchestra at the time and 2006 issue of Notes. performed in the Director’s Orchestra, and teaching at Macalester College. His first big CONTINUED ON PAGE 

January 2006 | Eastman Notes 

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 LETTERS

CONTINUED FROM PAGE  photo on page 6 (see “Corrections”), Gordon Peters wrote: “In each case the aforemen- tioned percussion sections made up The Marimba Masters, founded by me in the winter of 1954, and lasting (with personnel changes) through the summer of 1959.” Related recollections from other alumni:

The picture on page 3 was taken in con- nection with the recordings Spirit of ’76 and Ruffles and Flourishes on May 6, 1956. —Harrington E. “Kit” Crissey, Jr. Corrections The “Fennell 5,” found (BA ’66, RC) “That’s not ‘a 1930s precursor of the We admit it—the “Fennell Five” photo in Eastman Wind Ensemble’,” wrote David the last issue of Notes was a shameless (and If I didn’t know it before, this proves I am Morse (BM ’57) about our identification of a successful) ploy to get readers to write in. We getting old! The man in the back row on the photograph of the Eastman Wind Ensemble were delighted by the number of responses left is Ted Frazeur, the man I dated for my in the June 2005 Notes. “That is the Eastman we received, and by the sharp memories of first two years at Eastman. I agree with you Wind Ensemble of the mid-fifties. I wasn’t in Eastman alums. that this is the very early ’50s. … Such fun! it, but I recognize a number of my friends, The “Fennell Five” are (left to right): —Kathryn (Silber) Deguire (BM ’54) and in the ’30s we were babies. Anyway, it’s Frederick Fennell; Theodore Frazeur (BM ’51, fun to see some of the faces I haven’t seen MM ’56); Mitchell Peters (BM ’57); Gordon Gordon Peters came to ESM I believe for many years—and we were all so young. Peters (BM ’56, MM ’62); James Dotson (BM in the fall of 1943 from a tour in the West What’s happened to us?” ’56, MM ’58); and Kenneth Wendrich (BM Point Band. He was very interested in ma- Maurice Sapiro (BM ’54, MM ’55) wrote: ’53, MM ’56). rimba ensembles, and started one during “What a surprise to see my photo on page 7 Frazeur recently retired from SUNY the school year 1953¬54. Except for Ken of Eastman Notes, and more of a surprise to Fredonia; Mitchell Peters is still timpanist Wendrich, the others were in the original learn it was taken in 1930’! with the Los Angeles Philharmonic; Gordon Marimba Masters. “Actually, the photo was taken in 1953, as Peters is retired principal percussionist of Gordon wanted a bass marimba and none a promo for Mercury Records, prior to re- the Chicago Symphony; Dotson, who died was available, so he added a double bass—me. cording the Sousa March album. We all au- in 1983, was San Antonio Symphony per- I played with the group two years before tographed the picture … We were paid $35 cussionist; and Wendrich, who died in 1994, leaving to take a teaching job in the Seattle an hour (union fees) and tuition for the year was president of the College & Community public schools. cost $450. I’m the one sitting on the end of Music Schools. —Don Snow (BM ’52, MM ’56) the cornet row, next to Tommy Hohstadt Two of the surviving alumni responded to (BM ’55, MM ’56, DMA ’62) and Danny us with their memories of the occasion. James R. Dotson [was] the person for Patrylak (BM ’54, MM ’60) … Thanks for In a telephone call, Ted Frazeur recalled: whom I wrote and dedicated my Concerto the memories.” “These guys all were involved (with the excep- for Marimba and Orchestra. We both gradu- tion of Fennell) in the creation of the group ated in 1956. Also responding were: Winnie Baim (BM ’56); Marimba Masters (organized by Gordon Peters) —James Basta (BM ’56) Barry Benjamin (BM ’56); Harrington E. that got national attention on ‘Talent Scouts’ on “Kit” Crissey, Jr. (RC ’66); Ted Frazeur (BM the Arthur Godfrey Show. They were featured for Also responding were: Winnie Baim (BM ’51, MM ’56); Loren Geiger (BM ’68, MM a number of weeks in the summer of 1955. ’56); Ellen Kilpatrick Cone (BM ’53); Niel ’70); Stanley Leonard (BM ’54); and Gordon “They issued a couple of recordings DePonte (MM ’76); Judy (Hummel) Fisher Peters (BM ’56, MM ’62). called Marimba Masters, and played with (BM ’57, MM ’58); Loren Geiger (BM ’68, the Buffalo Philharmonic and Rochester MM ’70); Lenore Sherman Hatfield (BM ’57); Our June 2005 Faculty News inadvertently Civic Orchestras. It led to real acceptance of Esther S. Rosenthal (MM ’58); Roger Ruggeri demoted three Eastman faculty members! that group as a classical entity, and restarted (BM ’61); Merton Shatzkin (MM ’59, PhD Their names and proper titles are: Natalya the seriousness of the marimba on a mas- ’61); Arlene Cohen Stein (BM ’57); Marilyn Antonova, Professor of Piano; Nicholas sive scale.” Richard Synnestvedt (BM ’59); Bob [H. Goluses, Professor of Guitar; and Ernestine Identifying the percussionists in the Robert] Williams (MM ’57); Bob Zale (BM McHugh, Associate Professor of Anthropology “Fennell 5” and the Eastman Wind Ensemble ’56, MM ’60); and an anonymous caller. and Religion. We regret these errors.

 Eastman Notes | January 2006 PHOTOGRAPHS COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Chuck Daellenbach receives ESM’s Alumni Achievement Award on May 15, 2005 in Eastman Theatre

Chuck Daellenbach (with Dean Undercofler) proudly displays his newly bestowed award.

Tuba player Chuck Daellenbach (BM ’66, MA ’68, PhD ’71) is a found- ing member of the world’s most successful brass chamber group, the Canadian Brass, founded in 1971 and still going strong. At Eastman’s 2005 Commencement, Chuck returned to his alma mater to receive an Alumni Achievement Award and to give the Commencement address.

MUSIC usually stand on this stage in the Eastman Theater in quite a dif- ferent capacity, with my four Canadian Brass colleagues to back me up. I am privileged to be here as the recipient of the Alumni Achievement Award and wish to accept this honor both as an in- I dividual honoree and as a symbolic honoree. Symbolic of the integ- rity of the Eastman path, making it possible for someone like me to FIRST get a pedigree in education and become a professional performer. EVERYTHING ELSE My days at Eastman really started one afternoon at the annual Chicago Midwest Band Clinic. My mom and band-director dad were attending a well-known tuba player’s afternoon clinic when they SECOND were joined in the audience by Professor Everett Gates. At some point during the session my mom, a proud mother to be sure, leaned over By Chuck Daellenbach to Mr. Gates and declared, “My son plays better than that!” Well, I CONTINUED ON PAGE 

PHOTOGRAPH BY KURT BROWNELL January 2006 | Eastman Notes 

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 At Eastman’s 2005 Commencement, the School awarded 98 The list of great teachers and great experiences at the School will Bachelor of Music degrees, 10 Master of Arts degrees, 71 Master eventually fill a book, but suffice it to say that I have never regretted of Music degrees, 28 Doctor of Musical Arts degrees, and the thoroughness of my training here. By both course content and by 8 Doctor of Philosophy degrees. personal example, the guiding Eastman School principle that came through loud and clear to me was always “music first,” everything CONTINUED FROM PAGE  else second. And that’s what I want to discuss with you today. didn’t, but never mind. Mr. Gates was very intrigued. From that day, and for the next eight years I had Everett’s guiding hand on my shoul- lmost everyone begins his or her musical journey der. Every age has its legendary teachers whose influence is felt for through performance. When we make our first notes on an generations—surely Everett is one of these. As one fortunate enough instrument we are thrilled. Our next impulse is to share the to have studied under him, I can tell you that his unseen influence experience—friends or parents get to hear our first efforts. will always flow to audience members for whom I have been lucky AThen, as we get better at it, we like to play songs and melodies for our enough to play. friends, and then of course we get to play in front of people that we My intention was to become a band director like my dad, so my don’t know. It gets even more exciting. Somewhere along the line we degree program was music education. And when I did get to Eastman, decide we want to do this music thing more than anything else. what I really wanted was a spot in the Eastman Wind Ensemble. Those These are exactly the feelings and experiences you will want to were the days when every high school band in America played what- remember and keep with you as you move forward in your career. ever was on Frederick Fennell’s newest Wind Ensemble LP release. Remember that it was the joy of performing that brought you this My first summer at Eastman was his last, but that exposure and mu- far. As your proficiency grows, so should your appetite for perform- sical highpoint was enough to last me a lifetime—and who can ever ing. And you cannot stand around waiting for someone else to make forget the banner on his rehearsal hall wall: just one word, listen! this happen for you.

 Eastman Notes | January 2006 PHOTOGRAPH BY KURT BROWNELL

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Those of us here in the ‘60’s had an excellent performance role But here is the good news for you as you start out your careers: the model in our friend Chuck Mangione [BM ‘63]. He didn’t wait future looks really bright in this Internet era. Where in the past an around for commissions and prizes. At his own expense, and most artist had to have a major record label, a major artist management likely loss, over and over he would organize and play concerts of his and an instrument deal, now it is possible to go directly to the re- own music. He must have learned so much that would have been ceiving audience. It used to be said that if you weren’t playing New hidden to him had he been simply hanging around for his big break! York, you weren’t playing anywhere. Well, now audiences everywhere Chuck showed us all that personal commitment, passion and deter- in the world can follow your tours, download your music (legally, mination pay off … for him, with “Feels So Good,” a number 1 hit in I hope), and see your videos. Oh, by the way, we have a new first: 1977, in the elusive “instrumental” category. our video “State Street Stomp,” with music by composer/conductor What we learned from Chuck was really simple, and I urge you all Bramwell Tovey, just broke the top ten in Canada on Bravo (Canadian to consider it: don’t wait to put your talents, your proven successes VH1). And the more the electronic age pulls humans to their com- at college, and your passions to make music to work. Take every puters, the more important your job as a live human teacher and live opportunity; make every opportunity you can to dream up ways to human performer becomes. share your music with others. Every performance event yields some new insights, some new ideas, and some different approaches. I have played concerts with my group where we outnumbered the audi- ence by one, and on the other hand I have played concerts in front of 100,000 people, and in all honesty I can tell you, 100,000 is a lot better.… No, seriously, there is no true difference in the power of the music. There is no true difference in the communication skill required. And if you are sensitive to your audiences, there is no quali- tative difference in the energy feeding back to you, the performer.

hen the Canadian Brass was starting out, we played everywhere: schools, libraries, schools, shopping cen- ters, schools, Lion’s Club meetings … schools, mostly. What was the big difference between us and all the Wother musicians playing school shows at that time? We actually be- lieved playing for schoolchildren could help us reach Carnegie Hall. We would play two school concerts in the morning, spend lunch talking about what went right and what went wrong, and then make Chuck Daellenbach, his tuba, and his current Canadian Brass changes in an afternoon performance to see if we could improve the colleagues: clockwise from left, Stuart Laughton; Gene Watts; show. What a laboratory these kids were providing us! Translating Justin Emerich; Bernhard Scully. these skills to adult audiences was logical, and in the process we cre- ated a new presentation style. n closing, I want to share with you the most important useable We realized early on that opportunity does not only knock once. advice I have run across over the years: Opportunity is a constant companion, waiting for us to be alert 1. In my last year of undergraduate study, I had to practice teach. enough to make contact with it. It’s rather like radio waves: they are My mentor, Ray Shahin, was an extremely successful educator always around us, but we only hear them when we have the right Iwho told me: Never be jealous of genius; rub shoulders with it. receiver. 2. Amongst various musicians I have read about, this statement In a sense, we had created our own ad hoc “Institute for Music from Van Morrison summarized my own feeling about our experi- Leadership.” No brass quintet had ever made a full-time career play- ences in the music/entertainment world: Music is spiritual, the music ing brass quintets. We had no road map to follow. The advantage of business isn’t. starting from scratch was that everything came in small steps and 3. One year the Brass was playing the Edinburgh International grew at our pace of understanding. Festival. In the audience, unbeknownst to us, was Dizzy Gillespie. What a time to be contemplating all this. Record companies are (This also reminds me of the old warning, “Always play your best, chasing the latest 14-year old singing sensation, symphonies all over you never know who is in your audience!”) We met after the concert North America are striking over (guess what?) wage issues, school- and talked for hours. He was speaking about passion and dedication children are growing up believing LimeWire is a perfectly legitimate when he said: If you’re tired, don’t sign no mo’ contracts. source of free video and audio tracks, debut concerts have gone the 4. Lastly, and perhaps most importantly, the advice from my col- way of music critics, and public schools are under increasingly in- leagues I think about every night before going on stage: Never leave tense pressure to cut back or eliminate their music programs. your wallet backstage!

PHOTOGRAPH COURTESY THE CANADIAN BRASS January 2006 | Eastman Notes 

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 A symbol of history and hope: Hiroshima’s “A-Bomb Dome” seen through August heat shimmer.

 Eastman Notes | January 2006 PHOTOGRAPH BY Eriko Sugita/REUTERS/CORBIS

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Eastman string students, performing with musicians from Germany and Japan, brought one of western civilization’s great musical works—Bach’s St. Matthew Passion—to Hiroshima. Conductor Johannes Müller-Stosch is second from left; the other students’ names are on page 12. HEALING HISTORY’Swounds By Johannes Müller-Stosch his summer, 16 Eastman string students and one student conductor Eastman students traveled to Japan to play in the Hiroshima Peace Concert 2005 at the International Conference Center in Hiroshima, Japan on August 5. In this concert observing the 60th anniversary of the atomic bomb at- play in a concert tack on Hiroshima, more than 180 musicians performed J.S. Bach’s St. Matthew Passion. The orchestra consisted of professional musi- marking the cians from all over the world, students from the best music colleges in Japan—and the 17 Eastman students invited as American representatives. TThe City of Hiroshima’s mission for this concert was “to rekindle the memory of Hiroshima 60th anniversary and draw public attention to the nuclear weapons abolition.” By combining American and Japanese students in the orchestra, Hiroshima officials sent a message of hope for world of the Hiroshima peace through music. The Eastman students, conducted by Johannes Müller-Stosch, also performed twice in Hiroshima as a string ensemble, at an underground shopping mall and at the Nippon Bank bombing Building, for an arts and music festival. Johannes, a native of Wittenberg, Germany and a DMA candidate in orchestral conducting, kept a journal of their visit, reprinted here. CONTINUED ON PAGE 10

PHOTOGRAPH BY ERIN MARIE KEESECKER January 2006 | Eastman Notes 

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 The Eastman students, led by Johannes, gave an afternoon concert Strings, Tchaikovsky String Serenade, last movement). The group is in the underground Hiroshima Mall on August 1. very focused and sounds great. 6¬9 p.m.: First orchestra rehearsal for Bach’s St. Matthew Passion. CONTINUED FROM PAGE 10 The conductor, Wolfram Koloseus, is Austrian and works at the opera theater in Mannheim, Germany. The Japanese students make up the first orchestra; the Eastman strings make up most of the second or- Saturday, July 30 chestra. Three continuo organs are used. Recitatives are played by 3:45 p.m.: Arrival at Osaka International airport. Grace Lee (who the conductor. Even though our players are tired, the atmosphere is flew in from Singapore) and Kitty Cheung (from Hong Kong) were very productive and the discipline outstanding. waiting as scheduled. The representative from the travel agency met the group and the train toward Hiroshima was boarded. 7:48 p.m.: Arrival in Hiroshima. Mrs. Hiroko Kono, Kathy Zager’s Monday, August 1 liaison, met us at the train station and the group was taken to the 1:30 p.m.: Taxicabs shuttle us to the large Hiroshima Mall. We hotel in several taxicabs. Jia Xu came to the hotel the day before, and are scheduled to perform in the center atrium of the underground now the Eastman group was complete. walkway, which connects several malls featuring small shops and boutiques. The set-up looks good and the acoustics are not too bad. Everything is better than expected and we try a few things as warm-up. Sunday, July 31 The group sounds good and is excited to play a concert on its own. Most people woke up around 6 a.m., as the time difference will 3 p.m.: Orchestra tunes, and Mrs. Kono makes an announcement take some getting used to. We explored several convenient stores about the program and introduces the conductor. Once the group and gathered at 11:30 a.m. for lunch at the Four Seasons restaurant started to play people gathered around and stood still to listen. I had (not connected to the hotel chain), close to the rehearsal venue. the orchestra stand and turn around after every piece. I noticed more Everyone enjoyed the Japanese fare. Special ice desserts with green and more audience at this public spot. After the Tchaikovsky, thun- tea flavor were made for our enjoyment—or perhaps to make up for derous applause began and would not cease. We repeated the third the fact that we had to sit outside (95 degrees), since seating inside movement of the Mozart Divertimento. The organizers, as well as our was insufficient. orchestra, were overwhelmed by the public display of appreciation. We were met at the rehearsal venue by Mrs. Kono, who showed 5:15¬9 p.m.: Considering the two-hour rehearsal in the morning, us a place to rehearse for our own concert. We had to walk through the concert this afternoon, and the almost four-hour rehearsal at the large rehearsal space where the choir was rehearsing and were night, our players were exhausted, but kept a very professional atti- greeted with applause. tude. The chorus, which had been prepared beautifully (not being too 4¬5:30 p.m.: Dress rehearsal for our own concert (Mozart critical about German diction), joined the orchestras. The children’s Divertimento in G major, Elgar String Serenade, Barber Adagio for choir had a great attitude and sang very well.

10 Eastman Notes | January 2006 PHOTOGRAPHS BY ERIN MARIE KEESECKER

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Tuesday, August 2 After a morning rehearsal with the soloists, the musicians, as well as various organizers, were shuttled to the Hiroshima Town Hall. The Mayor, Tadatoshi Akiba, welcomed everyone to Hiroshima, and talked about the special significance of having so many cultures pres- ent at this year’s peace ceremony. Herr Koloseus commented on the special meaning of the St. Matthew Passion: In between as Christ forgives the ones who nailed him to rehearsals, our the cross, so the victims forgive their persecu- students enjoyed tors, and life can go on. Uwe Lohrmann, the sightseeing in organist for the Orchestra I of St. Matthew, Hiroshima. who is also a composer, dedicated a short piece for this special event [To Comfort the Souls of the Atomic Bombing Victims of Hiroshima] and handed the score to the Mayor. After all formal exchanges, the Mayor (who spoke excellent English and translated for everyone) asked for general comments. I thanked the Mayor and the city council for making this event possi- ble, and assured them that we, as the representatives of an American conservatory, are well aware of the significance of our invitation and grateful to be part of this joint peace effort. The Japanese chorus master said that our playing yesterday had moved her to tears, and commented on how passers-by stopped and stood in awe for 45 minutes to hear us play. This atmosphere in a shopping mall was unprecedented. After this concert, she called everyone she knew to invite them to our second performance, in the Hiroshima bank building. She said to hear us play is a once in a lifetime opportunity. The group walked to the historic Hiroshima bank building. It stopped being used for that purpose after the bombing. The clock in the main hall stopped when the bomb hit [at 8:16 a.m., August 6, 1945]. A multi-media exhibition emphasized some of the aspects of the bombing. The bank vaults were open and one could walk in- side, the significance being that everything behind the vault was not touched by the effects of the bomb. Our concert began at 2:30 p.m. We noticed that the local university student string players from Orchestra I of St. Matthew were present; I walked over and invited them to talk with The “A-Bomb us and perhaps share a dinner. The students Dome” is one of were relieved that someone broke the ice, and the few buildings got excited to hear us play and to talk with us to survive history’s later. There was almost no ventilation, and first atomic improvised stage lights flooded more heat on bombing. us from above. Again, the group gave all that it had, and the audience was entranced. Mrs. Kono commented af- terwards that our orchestra is an ensemble of soloists. She had never heard such beautiful playing. 5:30¬9 p.m.: Another rehearsal with chorus closed the day. Some students went out for dinner with the Japanese string students. Now that the ice was broken, everyone appreciated the closer feeling of community within this large orchestra. CONTINUED ON PAGE 11

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 The names of the Eastman musicians, in English and Japanese, in the St. Matthew Passion program.

CONTINUED FROM PAGE 11 formal party for chorus and orchestra with speeches and welcome addresses followed. Wednesday, August 3 Three players gave an interesting presentation of Japanese music This was our (almost) free day. The only item on the schedule was on traditional plucked-string instruments. The chorus members were the dress rehearsal at 5 p.m. Students took the opportunity to go shop- very complimentary, greeted all instrumentalists, and collected au- ping, and to visit the famous Rijo Castle and Itsukushima Temple. tographs. A short but highly enjoyable party at a local Karaoke bar The dress rehearsal took place in Phoenix Hall at the Memorial followed. Peace Park. It seats approximately 1500 people. The stage is very large and the acoustics decent. Actually, no rehearsing took place, since the piece was more or less run straight through. The gamba Saturday, August 6 player, Jose Vazquez, an excellent artist from the Vienna Hochschule, The peace ceremony was scheduled to begin at 8 a.m. Many of us joined us for the first time. met at Phoenix Hall at 7:30 a.m. and walked over to the designated Herr Koloseus added a touch-up rehearsal for the next morning area for seating. There were several thousand people, and the sun at 10 a.m., and another rehearsal on the day of the performance at began to exude heat even this early. We received headsets to tune 3 p.m. Considering that the performance of St. Matthew will last 2½ into the English translation of the various speeches. hours and that we have a day of sightseeing earlier, the choice to This was our major sightseeing day, and the attraction was a visit to add a rehearsal that day was not understood by many, but, of course, Miajima Island, along with the German soloists, conductor Koloseus, we obliged. and the wind players. The main attractions are a shrine off the shore, a charming shopping street, and many tame deer that roam around the island. We all had tea and Japanese sweets exclusively produced Thursday, August 4 on Miajima, and were invited to a restaurant serving authentic At morning rehearsal, Jose Vazquez gave us very helpful hints Japanese cuisine in an authentic setting. about phrasing. Some of us went with Mrs. Kono to the memo- We had been informed by Mrs. Kono that the owner of the restau- rial of the victims and noticed the flowers that were given by our rant is a lover of Bach’s music, but regrettably was unable to attend Festival. The same group then visited the museum displaying the our St. Matthew performance. After lunch, David Chung borrowed a exhibit about the dropping of the atomic bomb. It was a very mov- viola (for lack of a violin) from a Korean student, and gave a rendition ing experience. of a Bach Sarabande, much to the delight of everyone present—es- pecially the restaurant owner. We visited a Buddhist shrine in Hiroshima, where monks ex- Friday, August 5 plained many of the traditions. We came back to the hotel tired, but Touch-up rehearsal at 3 p.m. It took about 45 minutes, and the thoroughly enjoyed our last full day in Japan. group had the time off until the performance at 6 p.m. The perfor- mance went very well and the audience was exhilarated, consider- Notes thanks Kathy Zager and Sally Cohen for their contributions ing that it took almost three hours including the Lohrmann piece. A to this article.

“Music, indeed, has the power to help heal the world’s wounds. I am proud that the City of Hiroshima chose the Eastman School of Music to represent American music students at this historic concert.” — Dean James Undercofler

12 Eastman Notes | January 2006

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 CONVOCATION The intrinsic power of music, today

Turning virtuoso Call this the “connect-the dots” Convocation and restaurants, hotels, and boutique shops message. Over the past five months, I will follow! Your crumbling center city will musicians into encountered three seemingly unrelated be reborn! (Never mind that in most of visionary zealots items that have oddly come together to America’s largest cities, audiences for concert form a potent message. One, I served on music live an hour or more outside and don’t a panel at the annual conference of the leave work until 6 p.m. or later.) Encourage By Dean James Undercofler American Symphony Orchestra League (with participation in school music groups to build two other dynamic speakers) on the topic of better social behavior, improve concentra- “Making the Case for American Orchestras.” tion, and improve math and reading scores! My task was to speak to the intrinsic value of Play Mozart to your baby and his/her IQ will music and orchestras; theirs was to speak to improve! Have you heard any of these argu- the economic and educational benefits. Their ments before? presentations were zealous, full of concrete Let’s declare these arguments those of the examples, and beautifully presented. Not past, and commit ourselves to finding and once did they talk about the power of music. using a language that explains the impor- Two, a factoid on the International tance of what we do. Let me suggest, as a Conference of Symphony Orchestra start, that there are five zones where one Musicians website (ICSOM represents the 50 can find the intrinsic value of music. largest orchestras in the US) stated that in In the first area, music expresses a cultural calendar year 2003, there were 159 position history and legacy. It provides a window to vacancies in ICSOM orchestras. In the same other cultures, and as such, evokes empathy year, American music schools and conserva- James Undercofler, dean of and understanding and builds social bonds. tories graduated more than 14,000 students the Eastman School of Music, Here music taps the public’s sensitivity with music degrees. delivered this year’s convoca- to diversity and its belief that we better tion address in Kilbourn Hall on And three, a book I read this summer called understand each other by experiencing each September 1. Everything Bad is Good for You, by Steven other’s cultural traditions. One can imag- Johnson, really jarred my understanding of ine a listening—or performing—together Dean Undercofler’s convocation the learning styles and capabilities of today’s experience in which the people involved address is also available on the young people. are immersed in a work that opens up new Eastman website: musical vistas in form, sound, and means of www.esm.rochester.edu/news. After these three experiences, I realized that expression. Through this shared participation, our call to leadership in music must be con- those involved develop a new sense of each stantly on each and every one of our minds. other’s histories, becoming more empathetic It’s time to put the platitudes and delaying to diversity of style and tradition. tactics behind us. Our task is enormous, awe- some, challenging, essential: to imagine and The second area asserts that music provides create a totally new landscape and reality for an essential element in the complete or music in American society. whole education of an individual—not in the “knowing about music” sense, but in the Let me elaborate on my three experiences whole brain concept that music nurtures and how they relate to this call to action. those parts of our brains that process emo- Because it is so difficult to explain the tion, feeling, and abstraction, and in doing intrinsic value of music, and because we so, leads to better mental health. Howard musicians have not taken the time to craft a Gardner, the noted educational psycholo- message about it, others who passionately gist, would support this idea. His research love music have taken up the standard. Build and resultant theories describe a multi- a new music hall in a downtown location CONTINUED ON PAGE 14

PHOTOGRAPH BY KURT BROWNELL January 2006 | Eastman Notes 13

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 CONVOCATION

CONTINUED FROM PAGE 13 This summer my older daughter gave me functional, integrated brain with a specific … I believe that the Steven Johnson book Everything Bad identified zone related to music. His theories is Good for You. He makes a cogent case have been translated by numerous educators Americans’ appetite that young people today, through their into curriculum that recognizes music as a immersion in technology and other media, distinct “intelligence,” nurturing it alongside for music is greater are more able to manage complexity and other “intelligences,” such as mathematical ambiguity; and that they respond favorably, and verbal/linguistic. than ever, that with even avidly to active engagement in process. Johnson does not argue that the content Music as the voice of the community pro- imagination, zeal, of popular media promotes these values, vides my third area of intrinsic value. Here but that the processes and construction of music demonstrates its power to express and artistry, one can popular media do. a community’s response to an event or enjoy a purposeful movement, and as such, moves the group’s As I was reading, something clicked. I was members to more in-depth understanding, life in music. astounded when I contemplated the rela- stronger vision and more action-oriented tionship between these characteristics and social bonds. Perhaps the most powerful concert music: complexity, ambiguity, avid bachelor’s level to the master’s or from a example of this voice of the community engagement. However, perhaps more impor- master’s degree to a doctoral course of occurred around the tragedy of September tant, I realized that the way we have been study. Yes, not all were graduated in orches- 11, when music provided a means of expres- presenting concert music to children has tral instruments, and of those who did, not sion and healing. to be completely rethought; and that enor- all wanted orchestral positions. On the other mous opportunities exist to introduce and My fourth area posits that perceiving music, hand, contemplate how many recent gradu- draw a new audience into concert music. especially that which is new or new-to-the- ates are on the job market and that more- listener, sparks one’s sense of creativity, one’s over, not all of these positions were filled. This is a window on the future. The digital openness to innovation. Here music’s abstrac- Needless to say, this is a vastly revolution is well underway and tion, complexity, surprise, and sense of play complicated topic. its effects are ever present. enhance a person’s latent creative impulses. However, I believe we can con- There are bridges to be found Again, the intrinsic value lies in the activation clude that there are not going to and developed. Think back to and stimulation of the whole person. I have be substantially more openings my fourth area of intrinsic value, observed that in creative communities where and fewer applicants for them in that relating to creativity, inven- invention is evident and nurtured, there is the future. Very few of you will tion, and innovation. Perhaps notable interest in newly composed music. get a position in one of these that 25–35 age group of IT types Perhaps the creative IT guy or gal is drawn to orchestras, no matter how won- is drawn to new music because new music because it sparks a sense of play, derfully you play. they understand the bridge and invention, and riskiness that enriches his/her find important meaning emanat- own creative process. However, I believe that ing from their immersion in music? Americans’ appetite for music is greater than The last area presents the most difficult ever; that with imagination, zeal, and artistry, And so, I call us to action. We have a task in descriptive challenge, but is also the most one can enjoy a purposeful life in music. Zeal front of us so daunting, yet so much fun to important one: that of how the individual and artistry are a given among musicians of contemplate and tackle. The music to which is nurtured, inspired, given freedom to con- quality; imagination is not. We have been we are devoted is rich, complex, ever grow- template, and can be personally and privately used to playing by the rules, figuring out just ing, and critically important to the society allowed to process music’s complex and rich exactly how to play that excerpt from Don we live in. Our job is to imagine, create, com- content. All of us in the room know what this Juan so that that audition committee on the municate, and never give up. Our job must means, as we have not only experienced it, other side of the screen will pass us on to be that of visionary zealots. we create and produce it as part of our daily the next round. Don’t do anything expres- lives. Those whom we touch know it as well. sive or out of the ordinary, we are often told. The ICSOM statistics tell us about the emer- That’s a sure way to be eliminated. Is this gencies of our present condition. Yes, of the music or is it a game of Jeopardy? It’s time 14,000 graduates of American music schools for the intrinsic value of music to prevail, so in 2003 (this number remains consistent in that we can be poets in society, not music subsequent years), many moved from the line workers or tradesmen.

14 Eastman Notes | January 2006

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Permanent splendor Eastman’s Italian baroque organ brings 18th-century art, music, and history into the 21st century

he Eastman Rochester Organ Initiative (EROI) has a truly “EROIc” goal: making Rochester a global center for organ performance, research, building, and preservation. With the arrival last summer of a recon- structed 18th-century Italian organ, a splendid idea Tbecame a splendid reality, and the first step of EROI’s plan was a tri- umphant success. Rochester is now the only place in North America Sunlight from a window in to hear authentic performances of 18th-century organ music written the Memorial Art Gallery’s for a large Italian instrument. Fountain Court illuminates German organ builder and restorer Gerald Woehl (who discovered decorative woodwork on the the organ in Italy many years before), Eastman Professor of Organ historic Italian Baroque Organ. Hans Davidsson, and a team of workers spent Rochester’s long, hot Below: The stops and keyboard. summer of 2005 reassembling this 18th-century treasure in the Memorial Art Gallery’s Fountain Court. The organ is a beauty and definitely belongs in an art museum. It sounds beautiful, too: its 600 pipes were designed to render an earthly echo what was thought by 18th-century musicians to be the “harmony of the spheres”—the music produced by the planets in their divinely ordained orbits, if humans could but hear it. The music we can hear from this instrument is cer- tainly attractive enough, according to Hans Davidsson: “The façade stop (pipe) has a sweet, warm, and prompt sound; the flutes a charming and beautiful singing qual- ity, and the full chorus—the ripieno—a rich, powerful, and silvery cascade of complex elegance.” ON THE WEB This was the kind of sound that 18th-century Italian composers had For more information about in mind for their music, so it was entirely fitting that Rochester first the Italian Baroque organ, EROI heard this organ in a performance of Claudio Monteverdi’s magnificent Festival 2005, and Eastman’s Vespers on October 8 in the Fountain Court, with Eastman musicians organ and historical keyboards joined by guest ensembles Concerto Palatino and Tragicomedia. department, visit www.esm.rochester.edu/EROI. ➤ Thanks to Sally Cohen and David Higgs for contributions to this article.

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY January 2006 | Eastman Notes 15

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Above: Professor Hans Davidsson, in contact with 300 years of music history. Right: The organ in its new home: the Fountain Court. “A living, breathing, singing work of art”

By David Higgs istory was made this summer, when the only full- size antique Italian baroque organ in the Western Hemisphere was delivered to the Memorial Art Gallery of the University of Rochester. H As I watched 300-year-old pipes being unwrapped, I was reminded of just how significant this organ will be to the generations of organ- ists and music lovers who will play and hear it. It is one of the oldest organs now in America, and its sound will have a profound effect on the musical sensibilities of those who hear it. After touching its keys, I realized that it is not only the sound of this instrument, but also the feel of it, that will inform and inspire organists. While the original wooden keys are in remarkably good condition, they are worn down Right: Organ builders and restorers Felix Kurt (red in the places where organists’ fingers have touched them for centu- shirt) and Gerald Woehl (white shirt), from Marburg, ries; this causes the fingers of today’s organist to fall naturally into Germany, supervised the reconstruction in every those same grooves in the keys. It is quite a physical sensation, a tan- detail, including a picture of St. Andrew (below). gible connection to our history. The instrument is a living, breathing, singing work of art, a “recording” of the heritage we all enjoy today. It’s the kind of instrument that inspired music of the solo organ as well as ensemble music we hear and play today, whether directly, in Frescobaldi, Rossi, and even Scarlatti, or indirectly, in Froberger, Pachelbel, and Bach. It will be the focus for Italian-style instrumental and vocal performances, and will change the way the next genera- tions of organ students experience their heritage, as it brings them closer to the true essence of their repertoire.

➤ David Higgs is Professor of Organ. Originally printed in the Fall 2005 issue of Resonance, the Eastman organ department newsletter.

16 Eastman Notes | January 2006 PHOTOGRAPHS BY Andy Olenick (Fountain court) and GELFAND-piper PHOTOGRAPHY

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 The EROI inaugural event on October 7 drew many dignitaries to the Memorial Art Gallery.

January 2006 | Eastman Notes 17

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 ‘‘

18 Eastman Notes | January 2006 ILLUSTRATION BY DAVID COWLES

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 ‘‘DearThe irreplaceable Alec Wilder and the “letters he never mailed” Lou . . .’’ to his friend Lou Ouzer

By David Raymond

lec Wilder (1907¬1980) studied at Eastman in Letters I Never Mailed was reissued on October 30 by the University the early 1930s, but never graduated. That didn’t of Rochester Press, in an annotated version by David Demsey of prevent him from becoming a frequent presence William Paterson University, whose research clears up many of the at the School throughout his life, long after he mysteries. Wilder wrote four especially appealing letters to another had become one of America’s music’s most tal- Eastman School legend: Lou Ouzer (1913¬2002), the unofficial ented “unclassifiables”—a trained classical com- School photographer for many years and a longtime friend and poser who loved the improvisatory freedom of soul mate of Wilder’s. The new edition of Letters I Never Mailed in- jazz, and wrote thousands of pieces simply as gifts for people and cludes many rare Ouzer photographs; here are the letters to “Dear Amusicians he loved. Lou” themselves. For decades, Wilder was a connoisseur’s composer, but in the 1970s he became a celebrity when his American Popular Song: The Dear Lou . . . Great Innovators 1900¬1950 (written with James T. Maher) was pub- lished to great acclaim. When we rode around the countryside yesterday and I made that Wilder followed it in 1975 with Letters I Never Mailed, subtitled impassioned speech about small groups of players, chamber music, Clues to a Life, an autobiography in the form of letters to important to be exact, I had the feeling that I lost you along the way. people in his personal and professional lives, most of them addressed And I don’t blame you; I know I sputter and repeat myself when I try only by first names or nicknames. Some of the prominent “recipi- to describe matters near my heart. It may seem absurd that I am writ- ents”—Frank Sinatra, Aaron Copland, Tony Bennett, and Thornton ing you when I’ll be seeing you constantly while I’m here in Rochester, Wilder—were easily guessed at the time, but there were many whose yet I’m sure I can disperse with the sputtering if I write it down. existence remained a mystery. CONTINUED ON PAGE 20

January 2006 | Eastman Notes 19

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Three Eastman legends came together in a classic 1978 a chamber music group is a clear, invaluable lesson in responsible photograph: pianist Marian McPartland; composer Alec Wilder; social behavior without which (he said sententiously) civilized liv- and, behind the lens, Lou Ouzer. ing would be impossible. Further, since I’m a nut on loving (as opposed to “stroking”), I CONTINUED FROM PAGE 19 can love a woodwind quintet, but it’s damned difficult to love As you know, I prefer to write music for friends. After all it adds a an orchestra. dimension to friendship if I respect a man’s playing and he in turn re- Maybe this need is greater than it would be otherwise if I had a spects my composing sufficiently to ask for a piece. And then when he family; maybe it’s substitutional. I’m not too concerned about that has performed it, revealing his awareness of all the secrets I reserve because I prefer intensely loving and respecting for a few Catherine- for music, then the friendship is almost Damonian and Pythian. wheel hours among musicians than having to love a family under the There’s a solo piece, a sonata let’s say, for French horn and piano. But same roof twenty-four hours a day. Maybe I’m cynical but the latter then there are the chamber groups, trios, quartets, quintets. They remain would be like spending a lifetime writing for the kazoo! for me the truest expression of music, not only because they demand that ALEC every note be the right one, but because they are musical expressions of P.S. See you for lunch on Wednesday. what I might dare to term “overt individuals.” What I mean is that while every player in an orchestra may be superb, the very presence of so many players may well reduce the personal intensity of the music. As well, I’m Dear Lou . . . certain that a composer can skate over thin ice in an orchestra piece sim- I have no doubt you’re not just being polite when you ask me ques- ply by substituting clever color or massed sound for true content. tions about writing music and all the peripheral experiences that In chamber music there can be no deception or slight of hand. And go with it. more than that, there must be a willingness, even more, a desire to I also know that though your photography has brought a lot of co-operate, to assist, to interlock, to sacrifice, and to check substan- music to you that otherwise you might never have heard, what with tial amounts of ego at the door of the rehearsal hall. your music school and concert pictures, you still have no knowledge I’m not a player but I can tell with little effort that the co-opera- of the creating and putting together of it. So since you’re always ask- tion and interdependence essential to superior ensemble playing by ing questions, I’ll put down some simple answers. Don’t, for God’s

20 Eastman Notes | January 2006

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 “Good God! It’s over forty years that we’ve been friends!” the stringent demands of the academic mind. Alec Wilder and Lou Ouzer in Rochester, in April 1974— Let me give you a strange instance of this paradox. I once asked the a photo taken from Letters I Never Mailed. most superb musician I know, John Barrows*, what a passacaglia was. (I won’t bother with what he told me, frankly because the memory is sake, mistake their simplicity for condescension! fuzzy.) He told me somewhat startledly, “But you’ve written one!” He We have one creative process in common: we know only minimally recalled a woodwind piece I had written and, when I realized I was what we’re doing and we distrust too much knowledge about our arts. unaware of what I had done, explained that a recurring chromatic line I know the ranges of the instruments and how best to group them just I had kept repeating throughout the piece simply to keep it from flying as you know what lenses to use and how to mix developer and all the off in all directions was, in fact, enough to have made it a passacaglia. darkroom techniques. But neither of us wishes to delve too deeply I keep telling other musicians that I’m an ignoramus and I prob- into the academic thoroughness of how to do what we do. ably shouldn’t because someday soon one of them is going to agree. You’ve told me often that your best pictures have been due to a keen When I say I don’t know what I’m doing, they look suspiciously at me eye, a hunch, and little else. I’ve told you that intuition, good taste, as if I were either putting them on or fishing for a compliment. and blind luck have been responsible for my best pieces. I’m sure that You remember that dissertation Glenn Bowen [MM ’56, DMA ’68] if either of us were cross-examined by experts concerning our meth- wrote? Some two-hundred-odd pages of analysis of my music, bar by ods of work, you would come off the more knowledgeable. bar? Well, I don’t understand more than a few pages of it and that’s In all areas but the creative I am obsessed with the need for knowl- the absolute truth. edge. But all my life I have shied away from knowing more than an All I can say is that if any of my music is good, its sources are al- essential minimum about the creative process. It is possible that had most solely intuitive. I studied more my music would be better; on the other hand, it’s If you’d like me to natter on about music in another letter, let me also possible that too much knowledge would have put my creative know! muscles into a permanent charley horse. ALEC What astounds me—and I must say it twice: astounds me—is that CONTINUED ON PAGE 22 those kind souls who have written analytical studies of my music * John Barrows (1913¬1974), virtuoso horn player in New York and at the University seem to have found it shapely, disciplined, and somehow well within of Wisconsin; a friend of Wilder’s since his Eastman days.

PHOTOGRAPH COURTESY LOUIS OUZER January 2006 | Eastman Notes 21

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Dear Lou . . . The following is the last in a series of round robin letters from Wilder I don’t remember anyone ever to particularly close friends: being so interested in my musi- cal opinions. So I’ll risk boring you silly with some more. Dear Lou . . . I suppose I’d have quit com- You are the last on this list of posing a long time ago if John beautiful souls who have kept Barrows hadn’t introduced me their counsel, followed their to so many glorious players. It own star, stuck to their own vi- was a godsend to meet and get to sion. But you’re certainly not the know those who truly loved the least as I’m sure you know. Good same kind of music I did, who God! It’s been over forty years played marvelously and, best of that we’ve been friends! all, who liked the way I wrote. You’ll never know how many For on such splendid occasions of my trips to Rochester were as those when one of them solely to reassure myself that hu- would ask me to compose a piece manity hadn’t totally failed. But I already felt safe since the per- in the course of all those trips, son asking wasn’t a stranger and our hundreds of country rides wanted music such as I knew I together, I’m afraid I may have would be able to turn out. influenced you to your possi- As a result of meeting all these ble loss. I knew you felt as I did talented musicians I have found about selling out, joining, hus- Lou Ouzer, “Eastman’s unofficial photographer,” in a photograph myself for the past twenty-five tling, kowtowing, being victim- from the Winter 2000 Eastman Notes. years composing almost exclu- ized. But I could indulge myself sively for friends. My not asking for commission money has been for two in these holdouts and barricades because I always and mysteriously reasons. The first is my fear of not writing music worthy of the player managed to make enough money to thumb my nose while you not or the commission. The second is a conviction that money has a way of only were always scuffling for more but as well had a wife and two infecting the relationship between composer and performer. children. I have a great respect for great performers. I believe they do much How in hell you’ve gotten away with your independence, your re- more than interpret music: they re-create it. And in so doing they fusal to knuckle under, how’ve you’ve managed to give away so many add a dimension to it. After all, the best marked music in the world thousands of photographs, I shall never know. But you have! is only a guide and it takes the awareness and sensitiveness of a con- Furthermore, you’ve made all the sacrifices with style and wry wit, ductor, a group, or a soloist to put the breath of life into it. with great love and absolute humor. And I should add that Helen, as Many composers treat players as necessary evils, much as play- much as she may disagree with many of your attitudes, has adjusted wrights treat actors. This may be true of run-of-the-mill actors and to the less-than-comfortable income by managing to clothe and feed players, but the superior ones are godsends and I defer to them al- all of you with great skill and no complaints. ways. Indeed, great players have kept me composing. I go on at such length partly because I would feel shattered if I I know that you, as a nonmusician and honest listener, like conso- felt that my violent convictions have influenced you to the extent of nant, melodic, warm, and loving music. But I promise you that the causing you to suffer unduly. avant-garde, made up of experimenters, fakers, humorless lecture- I have infinitely more respect for your victory than for mine. But, hall “significators,” has now become the musical Establishment. As by God, I can tell you one thing: it’s beautiful to be around you, to a result, such traditional, unaggressive writers as myself are consid- be your friend and to know that literally nothing can touch what we ered absurdities by both critics and audiences. have and what we are. Yet—and I can’t figure out why—the young, who you’d assume Keep this strange document. It should belong to you! Full circle! would be the champions of the New, seem to like what I write. Not, ALEC I’m sure, the young composers, but certainly, if I’m to judge by the letters I receive, the players. ON THE WEB Alec Wilder is the subject of many books, articles, and Maybe all these disordered comments can serve to tell you why reminiscences. A good short biography of him is at www.classical.net/ my musical behavior is what it is. music/comp.1st/acc/wilder.html. For information on ordering Letters ALEC I Never Mailed, visit www.urpress.com.

22 Eastman Notes | January 2006 PHOTOGRAPH BY ANNETTE LEIN

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 SCHOOL NEWS A new home for Eastman Community Music School

By Howard Potter our jazz combos performed be- fore the ceremony, Wes Nance’s On October 22, in the Miller trumpet ensemble (Evan Henry, Center’s Sproull Atrium, we had Katherine Ludington, Kristopher a small dedication ceremony for Westrich, Joshua Osgood, and Messinger Hall, our future home John Roberts) performed a fan- at 10 Gibbs Street. The primary fare by Eastman Professor of donor, Martin Messinger, was Composition David Liptak dur- there with three generations of ing the ceremony, and the Ryck his extended family! Also present Trio (Elena, Angela, and Stephen were University President Joel Ryck) played at the post-cere- Seligman, Eastman School Dean mony party. They were all abso- James Undercofler, and local po- lutely wonderful! litical leaders including then It was wonderful having the Rochester Mayor Bill Johnson. Community Music School re- As a child, Mr. Messinger was ceive so much attention. Our A joyful return to Eastman: Martin and Joan Messinger, displaying a piano student in Eastman’s school is much loved and ap- the new plaque for Messinger Hall. Preparatory Department, at preciated by so many. Next the insistence of his mother, Anne Waltuck This was the final step in the creation year, when Messinger Hall actually is open Messinger, after whom the new building is of what Mr. Messinger calls “an exciting and being used, we will have a Community named. His generous gifts to the Eastman urban campus” for the Eastman School. “The Music School-wide ceremony, inviting our School helped establish the Messinger Eastman Community Music School,” he said entire faculty, staff, and students—and their Performance Leadership Development Fund in his remarks at the dedication, “brings the families—to celebrate! in 1997, and more recently his leadership gift importance of music to life.” of $1 million helped the Eastman School pur- The afternoon included some wonderful ➤ Howard Potter is Eastman’s Associate Dean chase the building at 10 Gibbs Street. performances by ECMS students. One of for Community and Continuing Education.

“The world is our stage”

A little pomp and a little music are always in order at a presidential inauguration. Eastman provided plenty of both on October 23, when Joel Seligman was inaugurated as the University of Rochester’s 10th president in the Eastman Theatre.

The Eastman Brass—James Thompson and Douglas Prosser, trumpets; W. Peter Kurau, horn; John Marcellus, trombone; and Don Harry, tuba—provided a prelude and processional and recessional music. The Eastman Chamber Winds, under conductor Mark Scatterday (DMA ’89) and with Professor of Piano Nelita True as soloist, pre- miered Quaerere et Invenire (To Seek and to Find), commissioned from Professor of Composition Robert Morris.

Seligman, joined onstage by past UR Presidents Robert Sproull, George Dennis O’Brien, and Thomas Jackson, provided inspiring words to go along with the music. “We are one University, powerfully bound by values that are responsible for this and other Universities being among the most significant social institutions in the world UR President Joel Seligman and predecessors (left to right): today. Rochester is our home, but the world is our stage.” Robert Sproull, George Dennis O’Brien, and Thomas Jackson.

PHOTOGRAPHS BY KURT BROWNELL (MESSINGERS), RICHARD BAKER (SELIGMAN) January 2006 | Eastman Notes 23

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 SCHOOL NEWS

Gibbs Street becomes Jazz Street

By Russell Scarbrough

Jazz lovers in Rochester filled the streets once again this past June for the fourth an- nual Rochester International Jazz Festival (RIJF). The eight-day festival took place in Eastman’s performance halls, in nearby clubs and outdoor stages on Gibbs Street. Once again, Eastman musicians were at the heart of the festival, which is one of the nation’s fastest growing annual music events. Eastman students were also featured in the now-traditional Sunday night concert in the Eastman Theatre, emceed by jazz studies and contemporary media department Chair Harold Danko. The award-winning Eastman Youth Jazz Orchestra, led by Associate Dean for Community and Continuing Education The Eastman Youth Jazz Orchestra headlined a “heluva good” RIJF concert. Howard Potter, featured several graduating students who were awarded scholarships to The Eastman Jazz Ensemble, directed by The critically acclaimed Trio East (featur- attend Eastman this year. Current and recent Eastman Professor Bill Dobbins, perform- ing trumpeter Clay Jenkins, drummer Rich students Brian Shaw, Shirantha Beddage, ing arrangements by Dobbins, current stu- Thompson, and bassist Jeff Campbell) and Kirsten Edkins, Clarence Hines, Mamiko dent Russell Scarbrough, and alumnus Bill the Harold Danko Trio were both featured Kitaura, Dan Loomis, and Jared Schonig made Cunliffe (MM ’81). They were joined by acts, and guitarist Bob Sneider led a nightly up the “Jazz Performance Workshop Honors saxophone soloist Bob Sheppard (MM ’77), jam session. Alumni drummers Dave Mancini Unit.” Hines, a trombonist and arranger, and one of the first musicians to graduate from (BM ’74) and Ted Poor (BM ’03), and pianist Schonig, a drummer, were presented Down Eastman with a degree in Jazz Studies and Toby Koenigsberg (MM ’03), each returned Beat Magazine Student Music Awards. Contemporary Media. to Rochester to led their own groups.

“Piano Man” Billy Joel endows Eastman scholarship

Grammy- and Tony-Award winning musician and popular music genres in years to come.” Billy Joel may be known for “Piano Man,” “Just Eastman’s first Billy Joel Scholar is Russell the Way You Are,” “Movin’ Out,” and many Scarbrough. A Baltimore native, Russell re- other pop hits, but he’s also a committed—and ceived his master’s degree in jazz composi- generous—advocate for music education. tion from Eastman, and currently is working Eastman, along with several other eastern on his doctoral degree in jazz and contem- music schools, saw his generosity this fall. porary media. In addition to having sold more than 100 An accomplished trombonist, Russell has million records over the past 25 years, Billy also written numerous arrangements for Billy Joel Russell Scarbrough Joel also has long encouraged collaboration pop vocalists. He is writing a piece for the among the performing arts, as well as the to support a scholarship for a current stu- Eastman Studio Orchestra with several jazz advancement of “crossover” learning and dent, and to establish an endowed Billy Joel soloists, to be performed in March 2006. performance among the various genres of Scholarship at the Eastman School to benefit “What an honor it is to be the first recipi- music. The Billy Joel Endowment Fund has “extraordinarily talented music students who ent of the Billy Joel Scholarship at Eastman!” given Eastman a generous gift of $320,000, are exploring relationships between classical says Russell.

24 Eastman Notes | January 2006 PHOTOGRAPH BY PAUL GRIGSBY

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Eastman responds to Katrina

In the aftermath of Hurricane Katrina, the was able to set him up as he did the singers. Eastman community rose to the challenge, Within days, Maloney, Di Carlo, and Cortes offering aid and assistance to those who were already had arrived in Rochester, preparing affected by the storm. Two initiatives in par- to begin at the Eastman School as visiting, ticular stand out as examples of the generosity special, non-degree students. All three had of the School’s faculty, staff, and students. tuition and dorm fees waived, and board Shortly after the hurricane hit, Professor of charges were donated thanks to the generos- Voice Carol Webber contacted Steven Daigle, ity of Aramark, the food service providers at Acting Chair of Eastman’s voice and opera Eastman and the University of Rochester. department, to discuss whether Eastman The Jazz Studies and Contemporary Media could sponsor some storm-displaced music department’s annual Jazz Showcase, on students. A New Orleans-area native whose September 23, 2005, was a benefit concert for family still lives in the vicinity, Daigle already jazz musicians from New Orleans. The Kilbourn knew two unusually talented New Orleans Hall concert raised more than $1,000—all of voice students attending Loyola University: which went to the Jazz Foundation of America’s juniors Claire Maloney and Vernon Di Carlo. Jazz Musicians’ Emergency Fund, an organiza- Webber and Daigle received administrative tion that routinely helps freelance jazz musi- support from Dean Undercofler to offer the cians obtain services like health and dental students a place at Eastman, helped along care, legal counsel, and even housing. through efforts by other administrators and “It is part of the Eastman culture that we voice students in the Eastman community. feel personally engaged with our students,” At about the same time, euphonium player said Carol Webber. “The spirit of generosity Rey David Cortes, a native of Costa Rica and a so intrinsic to music making is ideally suited graduate of Loyola University, was preparing to action, providing help in such a disastrous to begin his master’s degree at the University situation. As an educator, I promote active of New Orleans. Cortes had been accepted engagement in the human dilemma, which New Orleans students Claire Maloney, to Eastman as an undergraduate, so he made I feel complements the development of the Rey David Cortes, and Vernon Di Carlo direct contact with Dean Undercofler, who artist/performer.” (left to right) spent a semester at Eastman.

14 Grammy nods for Eastman

Eastman faculty and alumni are well repre- For “Best Instrumental Soloist(s) For “Best Chamber Music Performance”: A sented in the 48th annual Grammy Award Performance (With Orchestra)”: English la Carte – Short Works for Winds by Borealis nominations, announced December 8 (the hornist Thomas Stacy (BM ’60) for Kenneth Wind Quintet (including flutist Katherine winners will be announced on February 8). Fuchs’ Eventide, a track on An American Fink, BM ’76), featuring Three Summer Place (Naxos). Producer Michael Fine is also Dances by Joseph Turrin (BM ’05). For “Best Opera Recording”: Paul O’Dette nominated for this recording. for conducting Conradi’s Ariadne; and For “Best Small Ensemble Performance”: soprano Renée Fleming (MAS ’83), featured in For “Best Instrumental Arrangement”: Bill Crumb’s Ancient Voices of Children, with Strauss’ Dafne. Cunliffe (MM ’81) for Do It Again, a track harpist Courtney Bress (BM ’97); O Magnum from his album, Imaginación. Mysterium (Tiffany Consort) with singers For “Best Classical Crossover Album”: The Joe Chappel (BM ’94) and Oliver Brewer For “Best Instrumental Composition”: Maria Ying Quartet, the School’s string quartet-in- (MM ’00). Schneider (MM ’85) for Journey Home, on residence, for its recording with the Turtle Dana Landry’s album of the same name. Island String Quartet: 4 + Four. That album is ➤ Several of these recordings are featured in also up for a Classical Producer of the Year For “Best Jazz Large Ensemble Recording”: “Eastman alumni on CD” (p. 39) and “Eastman Grammy, for producer Thomas C. Moore. John Hollenbeck (BM ’90, MM ’91), for A Blessing. faculty on CD” (p. 51).

PHOTOGRAPH BY NATHAN MARTEL January 2006 | Eastman Notes 25

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 I^Wf[oekh \kjkh[ m_j^f[[hiWdZ\WYkbjo This summer, conductor Neil Varon helped pass the baton to a new generation. m^ei^Wh[oekh Another sizzling Eastman summer fWii_ed Eastman School’s Summer Session 2005 “cool things” as Canadian Brass Weekend and offered something for many musicians. “We the Eastman Piano Competition, which at- had the warmest conditions we’ve encoun- tracted 21 teenage pianists, helps bring bright \ehcki_YcWa_d] tered,” says Summer Session Director Ruth young talent to Eastman every summer. Cahn in reference to Rochester’s unusually Two new summer institutes were big hot, humid weather in 2005, “but lots of cool hits, according to Cahn. A Conducting things happened! We continue to grow—we Institute featuring Professor Neil Varon, had a larger number of students this year Assistant Professor Brad Lubman, and an D[mWbkcd_Z_iYekdj than last year.” opportunity to rehearse with the Rochester Summer classes consist of collegiate Philharmonic Orchestra drew 16 conductors M[mWdjWbkcd_jeh[jkhdje;WijcWdWdZ[dh_Y^ courses, institutes, and Eastman Community from all over the world, including England j^[_hcki_YWbb_l[im_j^ki?\oekWh[W]hWZkWj[e\ Music school courses. Each area, according and Bali. Eastman Sings! for singers, involved j^[;WijcWdIY^eebe\Cki_YWdZWh[dejYkhh[djbo to Cahn, exceeded revenue expectations this the entire ESM voice faculty, and drew 26 year, helping to support the mission of the participants. A new one-day workshop cWjh_YkbWj[Z Wi Wd ;IC ijkZ[dj" m[ e\\[h oek W School. The increase in students was partly to help school guidance counselors work '&&Z_iYekdjedWdo?dij_jkj[eh9ebb[]_Wj[Yekhi[ due to the first year of online registration for with college bound music students was also \ehm^_Y^oekoekhi[b\h[]_ij[h$J^_iZ_iYekdj_idej summer collegiate courses. But having such a success. Wffb_YWXb[jeej^[h\Wc_boc[cX[hi$

PHOTOGRAPHs BY RICHARD BAKER (NEIL VARON), COURTESY EASTMAN ARCHIVE (RUTH WATANABE)

>eki_d]_iWlW_bWXb[_dj^[;WijcWdIjkZ[djB_l_d]9[dj[h\ehiec[fhe]hWci$

2005014 ESM Summer Ad.indd 1 1/15/06 3:52:08 PM Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 CONVERSATION Robert Ward: “I am completely eclectic!”

By David Raymond What was your Eastman experience like? Were you interested in writing opera at first?

In my first year, I studied Composition and No, I was really in love with orchestral music. Public School Music [now called Music But while I was Eastman, I decided to study Education]. At that time, Howard Hanson did a list of operas I thought were great works— everything—he made all the student sched- two or three Mozart operas, Carmen, ules and sat in on the exams. He was one of La Bohème, Tristan, Meistersinger, Boris the most incredible administrators I have ever Godunov, Rosenkavalier, Otello—as well as known. But he was also a tremendous inspira- Porgy and Bess and some Richard Rodgers tion. He did so much for American music. scores like Carousel. At any level you take these works, they are masterpieces. Eastman was by far the best place to have orchestral pieces played—a great education Describe your experience at Galaxy Music. in itself for a young composer. I was only 18 I joined Galaxy after I was at Juilliard. The when my first orchestral work, two Edna St. firm was looking for a musical representa- Vincent Millay sonnets, was conducted by tive. I had no business background, unless Guy Fraser Harrison and broadcast over NBC. you want to count being president of the Also, I worked in the Sibley Library, and when student body at Eastman. It turned out Robert Ward (1917– ) studied at anything new came in, I’d get it out and play to be a very valuable experience—a real Eastman with Howard Hanson through it. Two other composers joined in eye-opener! Because of my inexperience, I and Bernard Rogers (BM ’39), those piano get-togethers: Robert Palmer decided I would try everything, from filling going on to Juilliard, then to (1915– ) and Homer Keller (1915–1996). By orders to going on sales trips. When I trav- study at Tanglewood with Aaron the time I went to Juilliard, I was far ahead eled, I discovered that most Americans didn’t Copland. He served on the facul- of the other students because of all this know my own musical heroes. They may ties of Queens College, Columbia Eastman experience. have loved Barber’s Adagio for Strings and University, and Juilliard, and was Gershwin’s Rhapsody in Blue, but to most Executive Vice-president and You studied with Hanson and Bernard people, [Roy] Harris was a tweed and [Roger] Managing Editor of Galaxy Music Rogers. Can you compare the two men? Sessions a clock. Corporation and Highgate Press You couldn’t imagine two more different until 1967, when he became What was the background of The Crucible? people. Bernard was a minimalist—not in President of the North Carolina Did you work closely with Arthur Miller? the contemporary music sense, but his music School of the Arts, then Mary was very delicate, almost underexpressed. I saw a revival “in the round” of The Crucible Duke Biddle Professor of Music His influences were Stravinsky and Bartók. Off-Broadway and was never so moved in at Duke University, retiring in 1987. Hanson of course loved the big, expansive my life. I thought it was a tremendous play, Ward has also been a pro- Romantic gestures. and immediately inquired about the rights. lific composer in all genres, As it happened, my first opera, He Who What are your musical influences? particularly vocal music and Gets Slapped, had its City Opera premiere operas. His Pulitzer prizewin- When I was young, there were two camps and was very well reviewed, so Arthur Miller ner The Crucible (1962), based among American composers: one admired came to see it; I remember reserving tickets on Arthur Miller’s play, is a clas- Stravinsky and was more neo-classical and for him and Mrs. Miller [i.e., Marilyn Monroe]. sic of contemporary American tonal; the other consisted of composers who Bernard Stambler [librettist of He Who Gets opera. Robert Ward visited were sympathetic to Schoenberg and twelve- Slapped] and I wrote a couple of scenes and Rochester this fall for Eastman tone composition. I thought that choosing played them for Arthur and he liked them, Opera Theatre’s performances to imitate Stravinsky or Schoenberg was so we went ahead with the rest. of his Claudia Legare (1978), an for the birds. I studied everything, made up We sat Arthur down and told him straight off imaginative adaptation of Ibsen’s my own mind, and took what I needed, so that his play as written was about two-and- Hedda Gabler. frankly they have all had some influence on me. I am completely eclectic! CONTINUED ON PAGE 28

PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY January 2006 | Eastman Notes 27

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 CONVERSATION

CONTINUED FROM PAGE 27 and also that there simply weren’t that many male; I wanted to write something with a a-half times too long to be an opera libretto, American opera companies—not to mention really powerful female role. And there is and he didn’t flinch. In fact, Arthur worked that if City Opera premiered The Crucible, no more powerful female role than Ibsen’s with us up to the end—he was wonderful. the Met wouldn’t be interested in it, and Hedda Gabler. But while I liked the plot and We made many cuts with his blessing, and probably not Chicago or San Francisco either. characters of the play, I didn’t think I could added a scene that was cut from the origi- And in those days, that was about all the write music for that cold Norwegian land- nal script—a confrontation between John opera companies there were! scape of Ibsen’s, and that we should move Proctor and Abigail Williams that we felt the action to an equally satisfactory location. When I finished, she had one question for was needed. Arthur said the end result was It turned out that Ibsen’s social mores trans- me: “Why do you do it?” better than the play. He later tried to get lated perfectly to Charleston, South Carolina, me interested in Death of A Salesman, but I Did The Crucible’s great success change at about the same time—after the Civil War. couldn’t see that as an opera. And of course your life and career? The opera plot is true to what happened in the South during Reconstruction: the strug- gle between those who wanted to return to antebellum values and the proponents of industrialism. [Claudia, the proud daughter of a slain Confederate general, is caught between two men representing these war- ring values, and eventually commits suicide.] Every episode in this great play is reflected in the opera, and nothing had to be brought up to date. I think it is one of the strongest opera librettos ever written [by Ward’s fre- quent collaborator Bernard Stambler].

Yet it has had a disappointing history.

I worked on Claudia Legare for four years, and sent it to Julius Rudel, who initially accepted it for the New York City Opera. But to my great dismay and unhappiness, he dropped it. The New York critics at that time [late 1970s] were only interested in promoting atonal or avant-garde music, and had recently attacked a City Opera pre- miere by Lee Hoiby. Rudel didn’t think my music would stand a chance there. So the Minnesota Opera first did it [in 1978]. Neither Soprano Aubrie Willaert (as Claudia) and tenor Jered Schwartz (as her husband George) in the cast nor the production was ideal, and a scene from Eastman Opera Theatre’s production of Ward’s Claudia Legare, performed Claudia Legare never really got off the in Novemeber 2005—only the piece’s fourth staging. ground. This is only its fourth production. he later worked with Bill Bolcom on A View Did it! But while winning a Pulitzer Prize is Does the Eastman production meet from the Bridge. worth thousands in publicity, it doesn’t mat- your standards? ter if your work doesn’t catch on. By the way, we also had to deal with Arthur Steve Daigle has a great sense of all the the- Miller’s agent, who knew nothing about It has to be timely for generation after gen- atrical values, so I knew the staging would opera. She expected The Crucible to be eration, and I’m happy that The Crucible be wonderful. And working with young finished in a year, then after its premiere to continues to be well received. Young people singers is not something I need to worry be performed by all the major American truly get involved in the story. about; in fact it is one of my chief pleasures. opera companies. Well, I quickly educated What is the background of Claudia Legare? I’ve found that they are very receptive to her to the opera world! I explained to her my music, and that by the time I come in, that Strauss or Puccini expected to devote On looking over the operas I’d written, I they’ve learned everything. four full years to the creation of an opera, noticed that the leads were almost entirely

28 Eastman Notes | January 2006 PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 SCHOOL NEWS

Jamal J. Rossi named Eastman’s new academic dean

Dr. Jamal J. Rossi (DMA ’87), former pro- also helped establish the Southern Exposure dean (1989¬98) of the School of Music at fessor and dean of the School of Music at New Music Series, the Southeastern Piano Ithaca College. From 1986¬89, he chaired the University of South Carolina (USC), Festival, and the Center for Southern African the department of music and theater at was named Eastman’s Senior American Music, whose pur- Northern State University in Aberdeen, Associate Dean for Academic pose is to collect, preserve, and South Dakota. Affairs, and Professor of curate the music of African- As a performing musician, Rossi has been Woodwinds, in July 2005. Americans in the southern featured on numerous solo and chamber An individual with extra­ United States. Additionally, the recordings, especially as a member of the ordinarily broad experiences in USC String Project was chosen Empire and Carolina Saxophone Quartets. both the academic and perform- by the American String Teachers He has received commissioned works by ing worlds, Dr. Rossi will work Association as the national such composers as Augusta Read Thomas, closely with the School’s faculty model for the String Project Dana Wilson, and David Kechley. Jamal J. Rossi and administration in areas such Consortium. Rossi was awarded a doctor of musical arts as curriculum, academic policy, student ad- “In leading this great school, I am particu- degree from Eastman in 1987, with a major visement, and admissions. larly pleased to be joined by a colleague with in saxophone performance and literature. As dean of the USC School of Music since such remarkable achievements in leader- He received his master’s degree from the 2000, Dr. Rossi oversaw 500 music majors ship, management, and musicianship,” says University of Michigan in saxophone per- and over 50 faculty and staff members, as Eastman Dean James Undercofler. formance and literature, and his bachelor’s well as a multitude of positive changes in cur- Prior to his tenure at USC, Rossi was as- degree from Ithaca College in music educa- riculum, development, and facilities. Rossi sociate dean (1998¬2000) and assistant tion and saxophone performance. Board of Managers news

On April 11, 2005, Eastman established an • Doris Preucil (BM ’54) Program. He has been a member and chair Honorary Board of Managers, consisting of • Dorothy Remsen (BM ’41) of the board of Garth Fagan Dance, a chair 19 notable alumni and friends of the Eastman • Will Schmid (MM ’65, PhD ’71) of the music committee and member of School. The Honorary Board’s purpose is to • George Walker (DMA ’56, ’57) the Arts Development Council of Geneva, advise and counsel the School’s Dean, senior • Glenn Watkins (PhD ’53) NY, and a member of the board of trust- administrators, and Board of Managers, and • John Williams ees of Sojourner House and of St. Michael’s to support the School’s mission through ad- Church, Geneva. vocacy and other actions that help achieve New members Josephine Bennington (MA ’62) re- the institution’s goals. Last spring, Eastman’s Board of Managers ceived a Bachelor’s Degree in Music from The Honorary Board of Managers con- elected two new members: MacMurray College, and the Associate de- sists of: Dr. George Abraham began playing the gree from the American Guild of Organists. • Karen Noble Hanson, chair piano at the age of five, and studied for four Her organ studies were with Robert Glasgow, • Dominick Argento (PhD ’58) years at Eastman with José Echániz. A gradu- David Craighead, Harold Mueller, and • Joyce Castle (MM ’66) ate of Hobart and William Smith College, he Catharine Crozier. Mrs. Bennington was or- • Renée Fleming (MAS ’83) received his MS degree in engineering math- ganist for churches in Rochester, Chicago, • Jim Foglesong (BM ’50) ematics and his MD at SUNY Buffalo, as well and the San Francisco Bay Area. Since • John Fuyuume as post-graduate training at the University 1984 she has been a trustee of MacMurray • Steven Geber (BM ’65) of California San Francisco, University of College, and recently became an Honorary • Dan Gill Chicago, and University of Rochester. He Lifetime Trustee. She served on boards of • Letty Gochberg (BM ’61) has served as Associate Dean for Research of the San Francisco Chapter of the American • Hattie Hopeman (x ’37) the Medical School, Director of the Center Guild of Organists and the San Anselmo • Marian McPartland on Aging, the Wilmot Cancer Center, the Organ Festival. She, her husband, Dr. James • Georganne Mennin (BM ’46, MM ’47) Medical Scientist Training Program, and L. Bennington, and their twin sons and two • Mitch Miller (BM ’32) the Wilmot Cancer Research Fellowship granddaughters all live in California.

January 2006 | Eastman Notes 29

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 SCHOOL NEWS

Highlights of Giving: July 1, 2004¬June 30, 2005

In the latest fiscal year, from July 1, 2004 Gifts last year to the Eastman Community to June 30, 2005, gifts to the Eastman School “Thank you, Everett, for never accepting Music School supported pre-collegiate schol- of Music totaled almost $3,821,000. These less than our best. As we continue to in- arships, the Eastman International Young gifts help provide the resources needed to fluence and inspire our own students, we Artists Piano Competition, and Eastman offer a superior education to the 900 excep- realize that we are also offering them the Pathways, a partnership program with the tionally talented musicians who come to the reflection of what you taught and shared Rochester City School District that offers Eastman School from around the world. They with us … We honor you by carrying your music lessons and classes, mentoring sup- also provide key support for programs that work and your love for all things musical, port, and advisement to talented city stu- benefit the Rochester community and the forward into the future.” dents. Over 70 individuals directed their 1,300 students who study each year through gifts last year to Pathways. —Sandra Dackow (BM’73, MM’77, the Eastman Community Music School. PhD’87), alumni volunteer and former student of Professor Gates Eastman Pathways Special initiatives Challenge Grant update and appeals from 1958¬1979, through the creation of In the past fiscal year, the Eastman School The Kilian and Caroline Schmitt an endowed scholarship. The Everett Gates raised more than $257,000 in matching Foundation made a grant commitment of String Music Education Scholarship will funds for the Eastman Pathways Endowed $250,000 for the restoration of the historic perpetuate his legacy and provide a source Fund, meeting its goal in the second year E.M. Skinner organ in Kilbourn Hall, a com- of permanent support for students who share of a three-year $1 million challenge grant ponent of the Eastman Rochester Organ his devotion to the field. awarded under the Talented Students in Initiative. Alumni also contributed 83 gifts Friends of Eastman Opera raised $22,983 the Arts Initiative, a collaboration of the totaling almost $6,000 toward this project. in support of the Eastman opera program, Doris Duke Charitable Foundation and the Former students and colleagues joined and helped the School purchase a special pro- Surdna Foundation. together to honor Everett Gates, Eastman jector that will be used to bring supertitles to Generous gifts from foundations, corpora- alumnus and professor of music education productions of the Eastman Opera Theatre. tions and individual donors will help ensure

“Without patrons like you, classical musicians would not have nearly the creative freedoms we have come to enjoy today. You are our modern-day Medicis!” —Zachary Robert Wadsworth, bm ’05 composition student

New endowments

Eastman’s 209 endowed funds provide a firm foundation of fiscal strength and annual “I want to express to you how much this gift revenue for the School. Twelve new endowed funds were established last year, providing of a scholarship means to our family this permanent support for prizes, fellowships, library acquisitions and scholarships. We are particular year. Thank you for the schol- grateful to the individuals who contributed to the following funds: arship you have given our daughter; our family will never forget that help. In fact, • Catharine Crozier and Harold Gleason • Linda & Harry Messina, Jr. Scholarship we imagine the day when we will have our Scholarship • Carolyn J. Noble Memorial Endowment children raised, and can use our surplus to • Anna T. Cummins Voice Scholarship • Howard and Richard Vogt Vocal benefit students, as you have done.” • Thomas Donohue Memorial Scholarship Scholarship • Henry S. Grossman Violin Scholarship • Kohei and Iwa Watanabe Scholarship —Parent of a BM ’05 • Billy Joel Scholarship • Ruth T. Watanabe Special Collections Fund vocal performance major • Marian McPartland Endowed Fellowship • Glenn Watkins “Traveling” Fellowship

30 Eastman Notes | January 2006

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 SCHOOL NEWS

that deserving Rochester city youth have per- >`m`e^Ypk_\ manent access to the quality music educa- Exceptional gifts tion offerings available through the Eastman The Symphony Orchestra Institute and its eldY\ij Community Music School. founder Paul R. Judy donated $1.2 million š
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PHOTOGRAPH BY LOUIS OUZER January 2006 | Eastman Notes 31

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 IN TRIBUTE

Diamond spent most of the 1950s and early Quintet No. 2 (1995¬96) was commissioned David Diamond 1960s in Italy, in escape from McCarthyism. by the Hanson Institute for American Music, David Leo Diamond, Upon his return, he found that the tonal, and first performed by Gilbert Kalish and the one of America’s fin- neoclassical music he had written was no Ying Quartet. est composers, and a longer fashionable, but he refused to follow native and longtime avant-garde fashions, leading to an eclipse resident of Rochester, in performances by leading musicians (one A. Clyde Roller died June 13, 2005, exception was his great friend Leonard The Eastman com- aged 89. Bernstein). In 1966, he was elected to the munity was sad- “Composing is in National Institute of Arts and Letters, and in dened to learn of the my genes,” he once 1973 began teaching at the Juilliard School, recent death of A. said; “I was born to do it, and I have always retiring in 1986. Clyde Roller. felt that it was the most natural thing for me In the 1990s, Diamond happily saw renewed Born in Oklahoma to do.” He studied at the Eastman School interest in and performances of his music. in 1914, Dr. Roller while a high school student; in 1933, when Kurt Masur premiered Diamond’s Symphony began his career as he was 18, Howard Hanson performed his No. 11 with the New York Philharmonic in Principal Oboist Symphony in One Movement. 1992 to great acclaim; and Gerard Schwarz with the Tulsa Philharmonic Orchestra, He attended Eastman for one year recorded many of his earlier pieces with the later joining the Oklahoma City Symphony. (1933¬34), leaving first for New York, where Seattle Symphony Orchestra. Among the He attended the Eastman School of Music, graduating in 1941; in 1963, he returned to Eastman to accept an appointment as Professor of Ensemble, directing the Eastman Wind Ensemble from 1964 until 1966. He led the EWE in a recording of symphonies by Alan Hovhaness and Vittorio Giannini that was named one of the best recordings of the year by High Fidelity. Dr. Roller’s subsequent appointments included Resident Conductor of the Houston Symphony Orchestra, and Conductor and Professor of Music at the University of Texas at Austin. In addition, he guest conducted many orchestras interna- tionally, from Alaska to New Zealand. Dr. Roller received many honors, includ- ing the Amarillo “Man of the Year” Award, Texas Orchestra Director of the Year (1979), Sigma Alpha Iota’s National Artist Affiliate Award (1979), and the Outstanding Educator of America Award. In the summer of 1998, he was presented with the Edwin Franko Goldman Memorial Citation by the American Bandmasters In rehearsal for the premiere of David Diamond’s Quintet No. 2, in February 1999: Association, “In Recognition of Distinguished from left, David Diamond, pianist Gilbert Kalish, and the Ying Quartet: Janet Ying, violin, Contributions in the Interests of Bands and David Ying, cello, Timothy Ying, violin, and Phillip Ying, viola. Band Music in America.” This ceremony took he studied with Roger Sessions, and then many awards Diamond received were the place at Interlochen, where he was a faculty Paris, where he studied with Nadia Boulanger. gold medal of the American Academy of member for more than 50 years. Returning to the United States, he quickly Arts and Letters and the Edward MacDowell In February 1981, Clyde Roller was hon- saw his music performed in the 1940s by Award (both in 1991); and the National Medal ored with the Eastman School’s Alumni such notables as Dmitri Mitropoulos, Eugene of Arts (1995). Diamond’s last decade also saw Achievement Award, which read in part: Ormandy, Artur Rodzinski, Joseph Szigeti, a closer relationship between the composer “Equally in home in front of an ensemble of and Rosalyn Tureck. and the Eastman School of Music; his Piano seasoned professionals or aspiring student

32 Eastman Notes | January 2006 PHOTOGRAPHS BY CHRISTIAN STEINER (DIAMOND, LEFT) AND JOHN WIDMAN (DIAMOND, TOP)

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 IN TRIBUTE

musicians, Dr. Roller is able to elicit an un- the University’s River Campus. Between he established a five-year bilingual music common unanimity of purpose, inspiring 1969 and 1976, she directed four Eastman curriculum and organized the Anatolia the highest musical standards…because of Suzuki Festivals. College Chorale, the first scholastic co-edu- [his] uncompromising musical integrity and A star violin pupil in her preparatory cational choral group in that country. After unceasing dedication, the nation and world classes, Anastasia Jempelis went on to re- 14 years at Ithaca College (where, in 1953, are considerably enriched.” ceive a full-tuition scholarship at Eastman. he organized the first touring percussion In February 2002, A. Clyde Roller re- She became an undergraduate member of ensemble in the eastern United States—and turned to Eastman for the 50th Anniversary the Rochester Philharmonic, and was fea- the second worldwide), Mr. Benson became Concert of the Eastman Wind Ensemble, tured on a national broadcast as a soloist with professor of composition at Eastman. During where he shared conducting duties with his the Eastman-Rochester Symphony. While his tenure (1967¬1993), he was honored predecessor, the late Frederick Fennell, for- studying with Millard Taylor, she earned the with an Alumni Citation for Excellence, the mer EWE director Donald Hunsberger, and Performer’s Certificate as well as bachelor’s Kilbourn Professorship for Distinguished present director Mark Davis Scatterday. Dr. and masters degrees. Teaching, and was named University Mentor. Roller’s leadership of “Elsa’s Procession to the After graduation, she performed as a solo- In 1994 he was appointed Professor Emeritus. Cathedral” from Wagner’s Lohengrin was de- ist with regional orchestras, including the He also served as Distinguished Visiting scribed by the Democrat and Chronicle as “in Buffalo and Rochester Philharmonics and Professor at Southern Methodist University every way a rewarding performance…[with] the Eastman-Rochester Symphony. She gave from 1986¬88. charm, simplicity, and bucolic warmth.” recitals throughout upstate New York, at the As a composer, Benson is best known National Gallery of Art in Washington, D.C., for his moving song cycles and dynamic and aboard the S.S. Queen Frederica. In ad- works for percussion and winds. Composer Anastasia Jempelis dition, she held concertmaster and assistant of more than 100 works, his music has Longtime Eastman concertmaster positions with the Rochester been performed in more than 40 coun- faculty member and Eastman Chamber Orchestras and the tries, and many of his works have been re- Anastasia Jempelis Opera Under the Stars Orchestra. corded. Warren Benson received numerous died on July 7, 2005. In 1986, Anastasia Jempelis was named awards for his music, including the John For more than six Musician of the Year by the Rochester chap- Simon Guggenheim Composer Fellowship, decades, Anastasia ter of Mu Phi Epsilon. She received the the Lillian Fairchild Award, a Citation Jempelis belonged to honor at a Kilbourn Hall concert, with her of Excellence from the National Band the Eastman com- Suzuki students performing at her side. In Association, many ASCAP Serious Music munity, first as a the late 1990s, she retired from teaching, but Awards, and three National Endowment for gifted student and later as a dedicated remained close to her colleagues, former stu- the Arts composer commissions. teacher who shared her talents generously. dents and their families. He was a founding member of the The violin was at the center of Anastasia Percussive Arts Society, and was elected to its Jempelis’ life from the time that she enrolled Hall of Fame, as well as to the National Band as an Eastman Preparatory student in 1939. Warren Benson Association Academy of Excellence. In addi- She was an accomplished performer, but Th e E a s t m a n tion to his published music, Warren Benson she made her greatest contributions as a vi- School was sad- also wrote Creative Projects in Musicianship olin teacher and passionate advocate of the dened to learn of the as well as poetry and humorous fiction; in Suzuki method. Miss Jempelis herself stud- recent death of 1999 he celebrated his 75th birthday with ied with Shinichi Suzuki from 1966¬1968, Warren Benson, the publication of … And My Daddy Will Play and co-authored The Suzuki Concept. She Professor Emeritus the Drums: Limericks for Friends of Drummers. spoke of the Suzuki approach throughout of Composition, at Warren Benson is also the subject of a bio- the United States and Canada, often bring- the age of 81. bibliography by Alan Wagner, published ear- ing in tow several of her young pupils to Born in 1924, and lier this year by Edwin Mellen Press. showcase the method. She coordinated the a professional performer by the age of 14, A Warren Benson Archive is in the pro- first Suzuki program in the United States: a Warren Benson played timpani in the Detroit cess of being established at the Sibley Music collaboration among Eastman’s Preparatory Symphony orchestra under Ormandy, Reiner, Library, and the Benson family has en- and Music Education Departments and el- Goossens, Bernstein, and others while an dowed the Warren and Pat Benson Forum ementary schools in Rochester and Penfield. undergraduate at the University of Michigan. on Creativity. In 1969, she organized a Suzuki Festival Day From 1950¬1952, Benson was awarded Warren Benson is survived by his that brought 500 children to perform with two successive Fulbright grants to teach at wife, Patricia, four children, and ten Dr. Suzuki before an audience of 1,500 on Anatolia College in Salonika, Greece. There grandchildren.

PHOTOGRAPHS COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE (ROLLER, OPPOSITE; JEMPELIS AND BENSON, ABOVE) January 2006 | Eastman Notes 33

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 IN TRIBUTE

In memoriam Phyllis Clark On January 10, 1930s 1950s 2006, Phyllis Clark, a longtime member Norma (Price) Barry Aubrey Jean “Tex” Bouck of Eastman’s piano (BM ’32), December 2004 (BM ’58), June 2005 faculty, died in Constance (Carpenter) Canney Rosemary Clarke Rochester. (BM ’30), September 2005 (PhD ’50), June 2005 Phyllis Clark re- Anna Helton Arthur Culver ceived her BA from (BM ’34), August 2005 (BM ’50), October 2005 Moravian College in A. Arlene Hershey Beverly (Nohe) Deichman 1946, and a Master’s of Music degree in piano (BM ’38), October 2005 (BM ’59), August 2005 from the University of Michigan in 1949. Mary (Myers) Linton E. Kent Hughes She taught at DePauw University (1946– (MAS ’39), December 2004 (BM ’50, MM ’51), October 2005 47) and at Wilkes College (1950–59), where Ernest Lyon Eleanor (Bruchalski) Obrist she was also active as a minister of music (MAS ’38), April 2005 (BM ’55), March 2005 in local churches. She joined the Eastman Robert Olson Wayne Rapier faculty in 1959, where she was a lecturer in (MAS ’39), October 2004 (BM ’54), October 2005 piano and piano pedagogy and coordinator of Robert Ottman Roger H. Steward primary and secondary piano, and also served (BM ’38, MAS ’44), June 2005 (BM ’52), August 2005 as chair of the Piano Class Department, re- Doris (Davison) Patek maining until her retirement in 1990. (BM ’30), August 2005 1960s Phyllis Clark was the author of Piano for Morris R. Poummit Adults (Vols. I & II) and of many papers, as (BM ’38), May 2005 Derrill Bodley well as a frequent presenter of workshops Heinrich Wiehn (BM ’67, MM ’76), September 2005 and lecture-demonstrations in the United (x ’37), August 2005 Cardon V. Burnham, Jr. States, Canada, and England. She also trav- (PhD ’61), February 2005 eled the world as a consultant in piano pro- 1940s Sharon (Riggs) Dake ficiency requirements and piano pedagogy (MAS ’63), October 2005 programs, and as an adjudicator for piano Paul Allen William Moore competitions. (BM ’49), May 2005 (BM ’65), August 2005 She was an active member of the Evelyn Blackwell Athenaeum Club, the Music Teachers (BM ’40), July 2005 1980s National Association, and Sigma Alpha Cecilia (McNallen) Case Iota. An active recitalist in solo and chamber (BM ’44), September 2005 Robert G. “Bob” Stata music, she also played the organ for many Clara (Cox) Fountain (BM ’84, MM ’85), June 2005 churches in the Rochester area. (BM ’41), November 2005 Phyllis Clark is survived by her sister, Rev. Donald Hayden 1990s Carolyn Clark, and by many cousins. (BM ’43, MM ’50), September 2005 Luise (Dornfeld) Mueller Janice Rich (BM ’42, MA ’43), June 2005 (MM ’92), August 2005 Sandy Thoms Cass Paul Torgrimson Sandy Thoms Cass, a much-loved member (MA ’45, DMA ’60), February 2005 of the Eastman community, died in June 2005. Always smiling, friendly and helpful, Sandy had been the Communications Office secretary since September 2000. Many ➤ We know that timely reporting of alumni deaths is important to our readers. here also knew Sandy when she was in the At the same time, we must ensure that our reports are accurate. Therefore, we Business Office and the Concert Office—she ask that friends and family send us either an obituary or a letter of confirmation started working at Eastman in 1997. in notifying us of someone’s death. Please write to Eastman Notes, Office of Sandy was a devoted and proud mother of Communications, 26 Gibbs Street, Rochester, NY 14604. four and a grandmother of four.

34 Eastman Notes | January 2006 PHOTOGRAPH BY KURT BROWNELL

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 ALUMNI NOTES

bestowed by Mu Phi Epsilon, the 1930s international professional music fra- Send your news! ternity, at the 2003 Centennial Con- Dorothy Eshelman (BM ’30) still vention in Cincinnati, OH. The award keeps active, playing piano for Do you have an announcement you’d like to share with your was given “for significant service to church services and a nursing home. fellow alumni? Send your personal and professional news to the Fraternity beyond the local level As if that weren’t enough, she is also in 44 years of love and service and Notes, Office of Communications, Eastman School of Music, a virtuoso of the bells, performing loyalty as a member of the Fraternity.” on a complete set installed in a rack 26 Gibbs Street, Rochester, New York 14604. outside the dining room of her living Don Schmaus (BM ’58, MM ’65) facility in Getzville, NY. Fax: 585-274-1089 conducted a performance of a work E-mail: [email protected] familiar to many ESM alumni— Howard Hanson’s Song of Democracy— 1940s Deadline for the June issue of Notes is April 21, 2006. with the Valencia Community College Singers and Wind Ensemble Songs of the Earth by Emma Lou News of your upcoming events such as concerts and lectures on November 15, 2005. Don is direc- Diemer (MM ’49, PhD ’60) was pre- can be posted live on the Eastman alumni website: tor of instrumental ensembles at the miered on August 19, 2005, by the www.esm.rochester.edu/alumni college in Orlando, FL. San Francisco Choral Society and Orchestra conducted by Robert Geary. Arlene Cohen Stein’s (BM ’57, MM ’70) latest book, My Eye of the Veteran theater composer Charles Scott Colley, and Larry Grenadier, Lenore Sherman Hatfield (BM ’57) Apple, will be out in 2006. It is a poi- Strouse (BM ’47) was honored offered his thoughts on “The lives in Bloomington, IN, where she gnant collection of letters exchanged with a revue of his songs, Applause! Underappreciated Role of the Bass” is Founder/Concertmaster/Executive between her and her parents during Applause! The Music of Charles Strouse, in a feature interview in the July Director of the Camerata Orchestra 1953¬1957, as she studied for her BM on October 14 at Flushing (NY) 2005 Down Beat. Series. Internationally known guest degree, with several commentaries Town Hall. The show starred Heather conductors and soloists perform from the dean and housemother dur- MacRae, Judy McLane, and Mark Two works by composer D. Donald with orchestra mem- ing that time. Arlene’s Nadler. (See “Alumni on CD,” p. 39.) Cervone (BM ’55, PhD ’70) were bers from Indiana book will be of particu- performed at Saint John of Rochester University School lar interest to alumni In August 2005, Robert Thayer Church, Fairport, NY, in a service of Music faculty and who attended ESM in (BM ’49) began a two-year appoint- celebrating the 50th anniversary emeriti, music students, the 40s, 50s, and 60s. ment as Interim Dean of the of the ordination of Father John J. and professionals. During their 50th class Lawrence University Conservatory of Philipps. Cervone composed Non reunion on October Music in Appleton, WI. nobis domine, a motet for mixed Patricia Paul Jaeger 20¬22, 2006, Arlene chorus and organ based on a canon (BM ’52, MM ’53) will do a “musical Last summer, Elizabeth Hagenah attributed to William Byrd, for this and London harpist book review” and sign- (BM ’47, MA ’49) celebrated three service. Also performed was A Simple Danielle Perrett have ing, assisted by Ingrid decades of directing the Stockbridge Mass for chorus, cantor, congrega- recorded a companion Hultgren Harrison (MA) Chamber Concerts. This sum- tion, and organ, composed in 1985 CD to Patricia’s publi- (BM ’56) her close mer’s programs include the premiere and dedicated to Father Philipps. cation Familiar Hymns friend since graduation. of Robert Baksa’s Trio for Clarinet, With a Friend. The score is for harp Last year, Ingrid and Arlene met (with Cello, and Piano, which Elizabeth Sarah “Sallie” Farabaugh (BM ’52), and string quartet (or substitute husbands) in Nashville, where Ingrid commissioned for the series. who studied composition at Eastman, instruments or voices) in 21 hymns attended the annual flute convention. has returned to it later in life, writing in the public domain. Arlene and her husband Harry (who a number of songs and religious works studied voice at Eastman with Julius 1950s that were performed at a concert in The Third Symphony (1990) of Huehn) continue to perform their September at Duquesne University Samuel Jones (MA ’58, PhD ’60), Music for All Occasions concerts of Ronald T. Bishop (BM ’56), who chapel. In an interview in the subtitled Palo Duro Canyon, was per- classical and popular selections. recently retired as principal tuba of Pittsburgh Post-Gazette, Sallie revealed formed in September 2005 by the the Cleveland Orchestra, was not her ambitious next project: a full set- Mississippi Symphony Orchestra John Thyhsen (BM ’59, MM ’62) actually required in his “final” con- ting of the Roman Catholic Mass. conducted by Crafton Beck. Jones recently released the CD A Hoagy cert—a performance of Beethoven’s gave a pre-concert lecture on his Carmichael Memoir, and published Missa Solemnis at the London Proms Memphis-born trumpeter Jon music and was honored with greet- two trumpet methods: Trumpet Tunes on August 31, 2005—since the work Hassell (BM ’59, MM ’60) recently ings from Jackson, MS and a cham- and Odd Meter/Latin Rhythm Tunes. doesn’t require a tuba. However, the released Maarifa Street: Magic pagne reception. He just began his 27th season with the previous night he was definitely on Realism 2 on his own Nyen label. A Philly Pops, and enjoys his Professor call, for Mahler’s Symphony No. 3, review in the Memphis Commercial During the summer of 2005, Lyle King Emeritus status at Rowan University. which he also performed earlier at Appeal described the album as “A (MM ’55) finished composing a suite of the Blossom Festival. Bishop joined whorled composite of tribal beats, six computer-generated compositions. Nancy Van de Vate (x ’52) was com- the orchestra in 1966, under director ethnic vocal wails and fluid trum- missioned by Austria’s Mozart Year George Szell. pet lines, and on another level [is Myrta Borges Knox (MM ’54) 2006 to compose a new work—a a] commentary on the war in Iraq.” received the Eleanor Hale Wilson- string quartet—in celebration of Ron Carter (BM ’59), along with (The Arabic title translates as “Street Rosalie V. Speciale Lifetime Achieve- Mozart’s 250th birthday. (Nancy his colleagues William Parker, of Knowledge.”) ment Award—the highest honor CONTINUED ON PAGE 36

January 2006 | Eastman Notes 35

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 ALUMNI NOTES

CONTINUED FROM PAGE 35 (Routledge, Taylor & Francis Books), PhD ’71) returned to his hometown Jordan, Dr. Barbara Bacik Case, lives in Vienna and has dual a “how-to guide” in creating free- in September for a concert as tuba Mrs. Signe Sebo Zale, and Beth her- Austrian/American citizenship.) On form improvisational music. (See pp. player with his world-famous group, self] had an impromptu reunion in September 2, 2005, the premiere of 40 and 50 for other recent projects the Canadian Brass. (See p. 5 for Baltimore the first week of August her Where the Cross is Made, a final- of Bill’s.) more from Chuck.) [2005]. They had never all been ist in the National Opera Association together since graduation. The four competition for new chamber operas, Marion Carlson (MM ’61, PhD ’64), Derald De Young (MM ’65) retired caught up on 43 years of news, heard took place at Illinois State University. music director of the Corvallis, after 27 years as Professor of Music performances, and met Barbara’s OSU Symphony and chair of the at Calvin College in Grand Rapids, daughter Lorna, who is training to music department of Oregon State MI. He conducted the Calvin College be an opera singer.” Beth adds, “This 1960s University, conducted music by Band for 27 years, the Calvin College was a really momentous occasion for Rossini, Schumann, and Tchaikovsky Orchestra for 14 years, and founded us, and we talked nonstop for two William N. Anderson (BM ’63, on the opening concert of the 17th the Calvin Alumni Orchestra in 1994. days … meals went by in a blur!” MM ’64) has been elected to a two- season of the Newport Symphony Derald and his wife, Marti, are mov- year term as Vice-President of the Orchestra on October 15, 2005. ing to Estes Park, CO, where they Pianist Gary H. Kirkpatrick (BM Ohio Alliance for Arts Education, plan to do volunteer work in Rocky ’62) gave a recital for the Montclair with headquarters in Columbus, OH. Two Eastman graduates won praise Mountain National Park and enjoy (NJ) Music Club in May 2005. Gary in this fall’s Seattle Opera produc- hiking in the mountains. is professor of piano at William Ross Beacraft (BM ’69) is art- tion of Jake Heggie’s The End of The Paterson University, and was pianist ist-in-residence with the Chicago Affair. The Seattle Post-Intelligencer Sister Grace Ann Giebel (MAS ’67), of the Verdehr Trio for many years. Brass Quintet at St. John Catiusi in described Joyce Castle’s (MM ’66) who has spent 17 years as president Chicago, from September through characterization of Mrs. Bertram of Pittsburgh’s Carlow University, Bassist Tony Levin (BM ’68) and his May 2005¬06. The quintet will also as “so powerful she almost over- was profiled in the May 9, 2005 band traveled to St. Petersburg and tour Oklahoma, Kansas, Arizona, whelmed everyone else in her Pittsburgh Post-Gazette. Under Moscow for concerts in October. In Michigan, Iowa, and Illinois this sea- vicinity.” Appearing in the leading Geibel’s direction, the college has an interview with the St. Petersburg son; see chicagobrassquintet.com. role of Maurice was Philip Cutlip more than doubled in size; she also Times, Levin, longtime bassist for (MM ’90), who “sang openly and oversaw the building of a new sci- Peter Gabriel and King Crimson, Elizabeth Buccheri (MM ’66, with expression.” ence and technology building and a spoke about his classical training and DMA ’79) was a faculty member $21 million fundraising campaign— rock experience, adding, “I laugh in the Opera Program at the 2005 Shirley Cole-Cartman (BM ’61) while returning each day to the to think that at the end of Peter Aspen Music Festival, assisting musi- writes: “I am now teaching music at Sisters of Mercy convent for prayer Gabriel’s song ‘On the Air,’ I played cal director David Zinman with musi- Woodward Elementary School K-2 and meal times and visiting the sick. a strong bass line, borrowed from a cal preparations for performances of and just love it … It’s been an inter- Shostakovich symphony. I don’t think Strauss’s Intermezzo. Elizabeth has esting year with the marriage of my Robert Goodberg (BM ’69) retired many people noticed it, but prob- been an assistant conductor at Lyric daughter, Becky, and my sons, who in May 2005 from his position as ably the listeners in Russia would be Opera of Chicago since 1987, and is also both work for Volusia County professor of flute and chamber aware of it.” now in charge of the collaborative [FL] schools, and also so many hur- music at the University of Wisconsin- piano program at the Northwestern ricanes.” Milwaukee. Cheryl (Basenko) Carter Nice (BM ’62) has been University School of Music. Goodberg (BM ’69) retired as appointed Music Director and Mitzie Collins (BM ’63) returned to orchestra director for the Glendale- Conductor of the Sacramento (CA) Lewis (BM ’69) and Karen (Wade) Eastman, completing her Master of River Hills Schools (WI) in 2004. Metropolitan Orchestra for the Buckley (BM ’68) have entered a Arts degree in Music Education with They now live in Tucson, AZ. 2005 season. Nice, conductor of new stage of life following his recent a diploma in Ethnomusicology in May the Sacramento Symphony for 13 retirement as Director of the U.S. 2005. In October 2005, she attended Ingrid Schuler Hancock (BM ’67) years, returned to the music scene in Coast Guard Band, where he was the eighth Yang Qin Congress of retired in June 2005, from the Sacramento after a 12-year absence. the longest-tenured conductor of a the World Cimbalom Association Babylon (NY) School District, after Maestro Nice is also Music Director premiere military band in American in Beijing, giving a paper on “The 33 years as a choral, instrumental, and Conductor of the Bear Valley history. Along with a partner, they Historical Hammered Dulcimer and classroom music teacher. Music Festival, a post he has held for purchased Cimarron Music Press, Tradition in Western New York State.” the last 23 years. and Lew was named conductor of the Mitzie is an active performer and con- Frederick Hemke (MM ’62) cel- Manchester Symphony Orchestra, cert producer in upstate New York; ebrated his 70th birthday in July Richard Rodean’s (BM ’62, MM ’64) a community orchestra in central see www.samplerfolkmusic.com. 2005. He was recently awarded retirement as interim dean of the Connecticut, in which Karen plays two Distinguished Professorships College of Arts and Sciences at Texas horn (that will surprise her friends, Harrington E. “Kit” Crissey, Jr. at Northwestern University: the Woman’s University this year was the who remember her as a pianist). (BA ’66, The College) in conjunc- Louis and Elsie Snydacker Eckstein occasion for a profile in the Denton They have an active brass quintet, tion with Christopher Weait, had Professor of Music, and Charles (TX) Record-Chronicle. Richard Sounding Brass, and an even more an article entitled “Chamber Wind Deering McCormick Professor of recalled his experiences as a bassoonist active grandson. Lew is also enjoying Music for Double Reeds by Eastman Teaching Excellence. In August 2005, in the Eastman Philharmonia’s famed guest conducting, performing (trum- School of Music Composers” in a he presented an international master 1962 tour of the Soviet Union and the pet), and arranging/composing com- recent issue of The Double Reed, the class for saxophonist in Trondheim, Near East. (Selections from Rodean’s missions. He and Karen would love quarterly journal of the International Norway. (See “Alumni on CD,” p. 39.) journal of the trip were printed in the to hear from any Eastman friends. Double Reed Society. Fall/Winter 2002 issue of Notes.) Beth Jennings-Eggar (BM ’62) William Cahn (BM ’68) recently Manitowoc (WI) native Chuck writes: “Four ’62 graduates, students Henry Scott (BM ’66) conducted published Creative Music Making Daellenbach (BM ’66, MA ’68, of Mrs. [Cecile] Genhart [Dr. Robert the Philadelphia All City High

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Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 School Orchestra in works of L. Rexford Whiddon (BM ’66, Corelli, Wagner, Glière, and Grieg at MM ’69) was presented with the Philadelphia’s new Kimmel Center inaugural Music Teachers National Return to Eastman on May 2, 2005. Henry is a bassist Association Distinguished Service in the Philadelphia Orchestra and Award during the MTNA National Music Director and Conductor of the Conference in Seattle, WA. Since through the web! Main Line Symphony Orchestra. joining the Executive Board of the Southern Division in 1976, he has MainLineTimes.com’s article on The occupied nearly every role in the Join the online community today. Opera Company of Philadelphia’s association. From 1970¬1999, he spring 2005 production of Johann taught at Columbus State University Membership is exclusive to Eastman Strauss’ Die Fledermaus featured (GA); he is now director of major the opera orchestra’s concertmas- gifts for the Columbus State alumni, and it’s completely free. ter, Barbara Sonies (BM ’67), who University Foundation. has played in the orchestra for 20 years. Barbara also plays in the The busy Vern Windham (BM ’68) Use the Online Directory to: Philadelphia Trio and Pennsylvania was profiled in the August 18, 2005 Ballet Orchestra, and is on the fac- Spokane Spokesman-Review. Verne is • Locate your classmates, studio companions, and friends ulty of Temple University. program director and morning clas- • Find fellow Eastmanites living and performing sical host for Spokane Public Radio in your area Harold Steiman (MM ’60) has had station KPBX-FM, as well as music two productive careers with the director of the 250-member Spokane • Make career connections Pittsburgh Symphony Orchestra—a Youth Symphony. He is also music • Update your own profi le and contact information 29-year run as a trombonist, and then director of the Mozart in Manito 14 years as the orchestra’s personnel concert each summer in Spokane’s manager. Harold retired in July 2005, Manito Park. Gather in the “Main Hall” and: and was the subject of an article in • the Pittsburgh Post-Gazette. Webb Wiggins (MM ’68) was Announce upcoming performances, recordings, appointed associate professor and publications Max Stern (BM ’69) was recently of harpsichord at the Oberlin • Share your personal news awarded a “Special Mention” in Conservatory of Music. the International EPICMUSIC • Reminisce with classmates about your days at Eastman Composition Prize competition for • Engage in conversations about the arts, professional his Three Ancient Pieces for flute 1970s and strings. The judges’ citation development, or other topics of interest to you praised Stern’s “writing ability and Malcolm S. Brashear (BM ’75) and your fellow alumni a very personal language in balance writes, “I was principal timpanist of between tradition and innovation.” the Hong Kong Philharmonic from When you join us, be sure to explore the many 1989¬2000. I now live in Columbia, Joe Stuessy (MA ’67, PhD ’78) was SC, where I am enrolled in the DMA other benefi ts and services available to alumni online, named Composer of the Year by the program in Orchestral Conducting including EastmanMAIL, the free e-newsletter for National Federation of Music Clubs. … I should graduate at the end of A concert of his works was presented the 2006 spring term. My topic is alumni and friends. at the 2005 National Convention in the music of Astor Piazzolla. I went Austin, TX. Joe was named Director to Buenos Aires last summer to www.esm.rochester.edu/alumni of the School of Music at Texas State meet and talk with friends and col- University in 2003, after serving as leagues of Piazzolla. I am also prin- Director of the Division of Music cipal timpanist of the Augusta (GA) at the University of Texas at San Symphony.” Antonio for 19 years. (See “Alumni on CD,” p. 39.) James Burchill (MA ’74, PhD ’80), organist at All Saints Cathedral, Elisabeth Ward Taylor (BM ’69) is Halifax, Nova Scotia, was awarded a publisher of Natural Awakenings— Distinguished Service Award by the Boston, a free Metro Boston monthly Halifax Centre of the Royal Canadian for healthy, holistic, earth-friendly College of Organists at a church living. Contact her at BostonEditor@ music conference in September 2004. NaturalAwakeningsMag.com. Charlene Campbell (Butler) (x ’70) Gene Tucker (BM ’69) writes, “I was sang five recitals at sites in Delaware ordained as an Episcopal priest at the this season. She also performed her Church of the Redeemer, Cairo, IL, one-woman show, What’s So Grand on March 12, 2005. Deb and I live in About Opera? at state libraries and at Marion, IL, and serve the churches Winterthur Museum in Wilmington. in Cairo and Marion.” CONTINUED ON PAGE 38

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CONTINUED FROM PAGE 37 University, was recently awarded a Kappa (the international equivalent Nassau, and Bronx Counties with Ms. Campbell maintains a voice and Guggenheim Fellowship. He will use of Phi Beta Kappa) for his work in Andre Emelianoff, Anton Miller, piano studio in her home. the award to complete a composition fostering inter-American collabora- Alexander Meshibovsky, Paul Roczek, project in collaboration with other tion in music. He serves as vice presi- and Grace Cho. Diana was also fea- Walter Cosand (BM ’73, MM ’76) musicians. dent for music at the International tured on Study with the Best (CUNY- writes, “I had a busy 2005, with Vernacular Colloquium in Puebla, TV). During the 2004¬05 academic several performances at music Robert Gant (DMA ’76) performed Mexico, and continues to per- year, she conducted the Lehman festivals in the USA, and a piano an organ recital (J.S. Bach, Reger, form and present master classes in College and Community Chorus workshop on Albéniz and Debussy Schumann, Vierne, Dupré) at Notre Latin America, most recently at the and Orchestra in concerts featur- at Chugye University for the Arts Dame Cathedral in Paris on July Seminarios Internacionais da Musica ing Haydn’s Mass in Time of War in Seoul. Chamber music perfor- 31, 2005. This summer series also XVII in Salvador, Brazil. He is head (December 5) and Brahms’ Requiem mances ranged from Messiaen’s included a recital by Wilma Jensen of vocal studies at Brigham Young (May 15). Quartet for the End of Time to duets by (BM ’51, MM ’52). University. Joan Trimble and works by Britten, David Myers (MM ’73), associate Mozart, Grieg, Brahms, Debussy, Antone Godding (DMA ’71) recently Blues for Geary, for solo marimba, director of the School of Music and and William Albright. I am in my retired after 35 years as professor was premiered by the composer, founding director of the Center for 30th year at Arizona State University. of music and university organist at Geary Larrick (MM ’70) on Educational Partnerships in Music I’m participating in a celebration Oklahoma City University. During September 5, 2005, at St. Paul’s at Georgia State University, was key- of Mozart’s 250th birthday by play- his tenure at OCU, Antone taught United Methodist Church, Stevens note speaker for the International ing two sonatas, a trio, and the Liszt organ, theory, aural skills, and his- Point, WI. On October 27 and Conference on Music Lifelong Réminiscences de Don Juan for a tory of music courses, and was coor- November 27, Geary presented youth Learning held at UW-Madison recital series entitled Mozart250@ dinator of graduate studies. He will concerts for Gesell Institute at the in April 2005. He is the principal ASU. I will also play the Mozart continue in his position at Oklahoma University of Wisconsin, Stevens national evaluator for the American C Minor Concerto with the Tempe City’s Nichols Hills United Methodist Point, singing of “The Star-Spangled Symphony Orchestra League’s Symphony Orchestra in February Church, where he has been organist Banner” while playing small cymbals, Orchestra Leadership Academy 2006. In May, colleague Danwen for 30 years. and playing a Jingle for xylophone, and the Ford Made in America Jiang and I will perform and teach at composed by his daughter. Eleven Program. David also oversees Sound Central Conservatory in Beijing.” Canadian composer Christos Hatzis of Geary’s compositions are cited in Learning, an innovative partnership (BM ’76, MM ’77) was recently String Music in Print (Musicdata). He he designed that includes GSU, the Sandra Dackow (BM ’73, MM ’77, signed by Promethean Editions was profiled in the UW’s spring 2005 Atlanta Symphony, Atlanta free-lance PhD ’87) recently guest conducted music publishers. Christos, a much Multicultural Affairs News. composers and performers, and 11 the Spartanburg (SC) Philharmonic, performed and recorded composer, Atlanta-area schools. the All-Southern California Honors is professor of composition at the John Mahoney (MM ’78) writes Orchestra, and the New Jersey All- University of Toronto. that he and his wife Dorien evacu- Steve Ostrow (BM ’77) performed State Intermediate Orchestra. She ated New Orleans during Hurricane with the Cleveland Pops Orchestra is President-Elect of the Conductors Carol (Wilke) Heinick (BM ’77) suc- Katrina. “After over a week in a on trombone in his arrangement of Guild. In February, Sandra con- cessfully completed the Lake Placid hotel and over a month in a travel Mickey Katz’s Trombonik. He plays ducted orchestras at the Singapore Ironman USA Triathlon on July 24, trailer, we have taken up residence violin with the Akron Symphony, American School. 2005. The race consists of a 2.4-mile at our camp in Mississippi. During Cleveland Pops, Cleveland Opera, swim, 112-mile bike ride, and a 26.2 the evacuation, I was commissioned and Lakeside Symphony. He adds Gary Dranch (BM ’75) was a clari- (marathon) mile run. Her finishing to write an arrangement of “Do You trumpet and tsimbl when he per- net faculty member last summer with time was 16 hours, 48 minutes. Over Know What It Means to Miss New forms with the Yiddishe Cup AMEROPA 2005 in Prague, where he 2000 competitors from all 50 states Orleans?” for the Mandeville (LA) Klezmer Band. He performed for performed with members of the Czech and many foreign countries partici- High School Jazz Band, who will Mildred Bumpfrey (BM ’28), who Philharmonic and U.S. faculty mem- pated in this endurance event. perform it at the Midwest Band and turned 100 this year, after she saw bers, gave master classes, and coached Orchestra Conference in Chicago Eastman on his resume during a ensembles. Gary also recorded the Victoria H. Hill (BM ’77) writes, “I this December. My teaching duties strolling violin gig. John Bavicchi Clarinet Concerto (1954) have been teaching public school for at Loyola resume in January, with last December in Brazil (scheduled 12 years in Sonoma County, CA. My an added semester taking us to the Alvin Parris (BM ’73) will cel- for release in 2006), and performed fifth-grade students learn folk songs, end of July. This is my 28th year at ebrate 30 years with the University Bavicchi’s Sonata for Unaccompanied Schubert and Gershwin songs, and Loyola! Our house received 8 inches of Rochester Gospel Choir with a Clarinet and Clarinet Quintet (1995) in do a musical play. Recently, I success- of floodwater and some major tree/ Gospelfest on April 1, 2006—all concert at the Donnell Library Center fully completed the rigorous National minor roof damage, so remodeling Gospel Choir alumni are invited. on November 6, 2005. Board Teacher Certification.” will be ongoing this fall into spring. Alvin is associate pastor and minister My big band CD, In From Somewhere, of fine arts at New Life Ministries In May 2005, Eric Ewazen (BM ’76) Jeff Holmes (BM ’77, MM ’79) was is available from Otter Distributors, in Rochester, NY. He returns to led a composition concert (includ- the guest artist at the Belmont (MA) as are my compositions.” Greensboro, NC in January to train ing his Western Fanfare for brass Public Schools first annual Jazz and direct a tri-city gospel cho- quintet and a movement from his Night on June 1, 2005. Jeff is profes- Diana Mittler-Battipaglia rus in his own arrangements and Cumberland Suite for wind quintet) sor of jazz studies and coordinator (DMA ’74) celebrated her 26th sea- original works in concert with the at the Tasmanian Conservatorium of of jazz studies at the University of son as pianist and director of the Greensboro Symphony. Alvin’s wife Music Recital Hall. Massachusetts, Amherst. Con Brio Ensemble. This season’s 15 Debra (Bryant) Parris (BM ’76) is concerts included performances at also minister of fine arts at New Life Don Freund (MM ’70, DMA ’73), J. Arden Hopkin (DMA ’78) was the Donnell and Flushing Libraries, Ministries. She is a conference and professor of music at Indiana recently inducted into Phi Delta Lehman College, and in Queens, CONTINUED ON PAGE 41

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Eastman alumni on CD

Michael Torke (BM AQ 0028). Valery Grokhovsky is the pianist McPartland. Among the performers on this ’84) has just released on both recordings. Joe writes that the sec- CD is trumpeter Chris Gekker (BM ’76), who a brand-new ballet ond movement of his Second Concerto is of also wrote the booklet notes. score, An Italian special interest: “It is a theme and variation Lisa Verzella (BM ’91) Straw Hat, first based on Howard Hanson’s Piano Concerto.” has a new CD called performed by the Edward Wood (BM Womyn’s Work. She National Ballet ’64) has recently made writes: “Funded in of Canada in May 2005, on his own label two piano record- part by a grant from (Ecstatic 092207). The lively and lighthearted ings for the Eroica the Salt Lake City score channels Rossini and Stravinsky. The label: J.S. Bach’s Well- Arts Council, [it] is Philadelphia Inquirer called it “yet another Tempered Clavier, a collection of classical works for trumpet milestone in the escalating richness of Torke’s Vol. 2 (JDT, 3224, 3 written by female composers from around music … His robust orchestration has never CDs); and arrangements of sacred hymns, the world”—including concertos by Grace been more dazzling.” (www.michaeltorke.com) including the last movement of Beethoven’s Williams and Alexandra Pakhmutova, and Robert Willoughby Ninth Symphony, arranged by 19th-century Lisa’s own Adagio in M, “an homage to the (BM ’42) was composer Louis Winkler (JDT 3121). Both CDs magnificent Gustav Mahler.” Professor of Flute are available from www.eroica.com. (www.cdbaby.com/verzella2) at Oberlin for more When saxophonist Composer Louis than 40 years; his Ben Wendel (BM ’99), Karchin’s (BM ’73) long career is cel- trumpeter Shane fourth CD release ebrated on a new CD Endsley (BM ’97), (Albany TROY 770) from the National Flute Association’s Historic keyboardist Adam includes songs writ- Recording Series. The selections include Benjamin, and bass- ten in the past five pieces by Debussy, Martinu, C.P.E. Bach, and ist Kaveh Rastegar years, as well as Thea Musgrave, to name a few. Also heard (BM ’01) decided to form a group, they his extended vocal-instrumental Masque, on the CD are viola da gambist Catharina wanted a name without preconceived musi- Orpheus, for baritone, chamber ensemble, Meints (BM ’66) and oboist Wayne Rapier cal connotations—and they came up with and dancers. Performers on the CD include (BM ’54) (www.nfaonline.org, 661-250-8920). one, Kneebody. The group (also including Elizabeth Farnum, soprano; Dominic Inferrera, Kamran Ince drummer Nate Wood) has a new, self-titled baritone; Stephen Gosling, piano; and (MM ’84, DMA ’87) CD on Greenleaf Music. All five musicians Karchin himself, as pianist and conductor of conducts the Prague have experience with jazz, rock, and hip-hop Orpheus (but unfortunately, no dancers). Symphony Orchestra groups, and it’s all there. Kneebody was pro- A brand new CD in his Symphony filed in the August issue of Down Beat. from a brand-new No. 3, Siege of Several rarely-heard Eastman graduate: Vienna; Symphony works by a Eastman pianist Oksana No. 4, Sardis; and Domes on Naxos 8.557588. School legend Skidan (DMA ’05) Joe Stuessy (MA ’68, (if not exactly an has just released PhD ’78) sends us alumnus) are heard Gargoyles, a recital two CDs featuring on a collection of of music by Lowell Liebermann (the title his music: a 1994 music for winds work), Schumann’s Kreisleriana, Debussy’s disc of American and brass by Alec Wilder (Albany TROY L’Isle joyeuse, and Prokofiev’s Sonata No. 7. music including his 763): Children’s Plea for Peace (first per- We can’t quote all of critic John Pitcher’s Piano Concerto No. 1 formed by the Eastman Children’s Chorus review in the Rochester Democrat and and popular works by Gershwin and Barber in 1968); Entertainment No. 1, premiered Chronicle, but it did use the words “terrific,” (Aquarius AQ0009); and a 2002 disc pair- by the Eastman Wind Ensemble and Fred “bracing,” and “memorable.” ing his Piano Concerto No. 2 and Carousel Fennell in 1960; and a Fantasy for Piano and (www.spheresound.com) Sonata with Liszt’s Concerto No. 1 (Aquarius Wind Ensemble, written in 1974 for Marian CONTINUED ON PAGE 40

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CONTINUED FROM PAGE 39 and Franck, among many others; and she The busy members Pianist/composer sings the title role in a rarely heard opera by of the Nexus percus- Joseph Fennimore’s one of her favorite composers in Richard sion ensemble, (BM ’62) long list Strauss’s Dafne (518202). which include Bill of Albany Records Cahn (BM ’68) and A few of the many CDs now includes Rob Becker (BM ’69, theater songs of Joseph Fennimore MM ’71), are no Charles Strouse (BM in Concert III strangers to contemporary music. They per- ’47) are showcased (Albany TROY 767), with works by Chopin, form a new piece by Pulitzer Prize-winner in The Musicality Fauré, Fennimore, Gibbons, Haydn, Liszt, Ellen Taaffe Zwilich, Rituals, on Naxos of Strouse (Jay and Schubert. 8.559268. Each of the four movements stems 9014), with seasoned from a ritual associated with percussion, and Pianist Donna Broadway singers performing numbers from the scoring includes instruments from all Coleman (DMA ’87) Strouse musicals famous (Bye Bye Birdie, around the world. is well known for her Golden Boy), obscure (Nick and Nora), mastery of the music and yet to come (The Night They Raided Volume Four of of Charles Ives, but Minsky’s). Playbill.com’s show-music maven Albany Records’ her latest release, Steven Suskin said the CD “displays an intel- Voice of the Havana to Harlem ligent, creative musical theatre composer at Composer: New (ABD Classics 4767743) traces the evolution work … a mere taste of Strouse, but most of Music from Bowling of ragtime, from its roots in the Caribbean the selections are rich and tasty.” Green (TROY 743) and Ivory Coast to its transformation into includes music Old friends make stride piano and jazz. Coleman offers from former Composition Department chair new music in the favorite pieces and rarities by Gottschalk, Samuel Adler and from Kevin Puts (BM ’94, jazz-rock band Neos, Gershwin, Joplin, and others—and the very DMA ’99), as well as music by Shulamit Ran, which consists of studious booklet notes as well. Chen Yi, and Orianna Webb. The entire pro- Matt Curlee (BM ’99, gram is conducted by Emily Freeman Brown Joel Schoenhals’s MA ’01), Courtney Adler (DMA ’89), director of orchestral activi- (MM ’95. DMA ’98) Orlando (MA ’01, ties at Bowling Green State University. For collection of Liszt DMA ’03), Ted Poor (BM ’03), Ike Sturm more professional news from Emily, see p. 41. piano arrange- (BM ’00, MM ’03), and Ian Fry (BM ’05). Neos’ ments of songs new CD Mackerel Sky is available on the The nonpareil English from Schubert’s band website, www.neos.org. The music, hornist Thomas Schwanengesang inspired by everything from world music to Stacy (BM ’60) can and Die Schöne Müllerin (Fleur de Son Chick Corea, includes pieces by two more be heard as the 57965) has already been praised by American Eastman alums: Jesse Krebs’s Photon Clocks soloist in Eventide, Record Guide as “a perfect marriage and Nathan Heleine’s Field. by contemporary between intellect and musicality … one of American composer John Ericson’s (MM the greatest releases of the year.” Kenneth Fuchs, on a Naxos CD devoted to ’86) recent solo Fuchs’s music (8.559224). Jo Ann Falletta con- Fans of Renée CDs on the Summit ducts the London Symphony Orchestra. Fleming (MAS ’83) label were warmly had a busy fall in reviewed in The Horn Flutist Linda music stores: the Call, journal of the Chatterton (BM supersoprano International Horn ’90) sends word of released three CDs Society. Les Adieux (music by Franz Strauss Gabriel’s Message: within a few months, and others) was hailed for “Fantastic playing Christmas Carols all on the Decca label. The long-awaited … The level of musicality, nuance and artistry for Flute and Harp, Haunted Heart (440602) shows her prowess is not to be missed.” Canto (lyric works for her new holiday CD in jazz and pop standards, plus a few classical horn and piano) was recommended as a “ter- with harpist Nikki Christopher. Linda writes, items, with pianist Fred Hersch and guitarist rific collaboration between horn and piano.” “A bunch of composer friends of mine Bill Frisell; an album of Sacred Songs (519302) (See www.hornarticles.com.) John is assistant wrote/arranged pieces for me specifically includes chestnuts by Bach, Handel, Mozart, professor of horn at Arizona State University. for the CD, so it’s a bit more unique than the

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standard holiday fare!” Linda’s composer friends include CONTINUED FROM PAGE 38 of Pennsylvania Performing Arts on workshop speaker-teacher-trainer on Tour, and is chair of the music theory, David Evan Thomas (MM ’83). ORDER INFO? Music and the Arts in Worship. Alvin history, and composition department John (Johnny) Russo (BM ’66) is and Debra are the parents of four at the Crane School of Music, SUNY grown children aged 17¬27, and the Potsdam, where she also heads the featured as a trumpeter, trom- proud grandparents of Benjamin (7), guitar and harp area. bonist, and vocalist on Bluebird Tea (3), and Aiden (1 month). from the Sky, a new jazz/pop CD Eden Vaning-Rosen’s (MM ’72) with 7 original tunes and 6 covers On June 13, 2005, Helen Weiss 16-year-old violin student Vibha Phelps (BM ’78) accompanied Agarwala was named Volunteer of released last July and introduced at soprano Sondra Winninger in “An the Year by the High Point YMCA a Taughanneck Falls Park Concert Evening of Tuscan Flavor with a for her work in the YMCA Musical before 1500 people. John’s band includes banjo virtuoso Sacred Touch” at the Lutheran Alternatives Program. Eden her- Drew Frech (BM ’65). Info: www.watershed-arts.com. Church of the Resurrection in self created this highly successful Marietta, GA, where she is director program for teaching underprivi- David Heuser (BM ’89) is of music ministries. Earlier, Helen leged children in 1998. A 12-year- one of several San Antonio commissioned Richard Erickson old student teaching in Musical (MM ’77) to write a choral motet in Alternatives was recently featured Composers Played by San memory of her brother. Blessed Are in Highlights for Children. Eden was Antonio Performers, on a disc Those Who Trust in the Lord, for choir, awarded the High Point Angel Award just released by the Composers organ, and cello, was premiered dur- and the 1999 Volunteer of the Year Alliance of San Antonio; the col- ing a worship service at the church Award for directing the program. on February 20, 2005. She gave a presentation on “The lection includes his O The White Tension-Free Bow Hand” at the 2005 Towns for tenor and piano. For more on the CD, visit Ruth Anne Rich (DMA ’74) was American String Teachers National www.nonsequiturmusic.com/CASACD.htm; for more on honored by the establishment of the Conference in Reno, Nevada, and is David, see p. 42. Ruth Ann Rich Endowed scholarship preparing the 20th book in her Violin at the University of Missouri-Kansas Book system. Maria Schneider’s (MM ’85) re- City Conservatory. Friends and for- mer piano students raised more John Ward (BM ’75) music director release of her only live album, than $60,000 for the endowment. of the First Congregational Church, 2001’s Live at the Jazz Standard, In the last year, Ruth has given con- Tenney Hill (ME), has become a unfortunately doesn’t come with certs in Arkansas, Georgia, Missouri, fellow of the American Guild of the bottle of von Buhl’s “Maria and Kansas. Organists, representing the Guild’s highest certification. Schneider Selection” Riesling Oberlin Conservatory of Music has wine that accompanied the origi- announced the appointment of nal. But the rich bouquet of the music remains the same: Karen Ritscher (BM ’74, MM ’79) to 1980s originals that Maria wrote while an Eastman student, to its viola faculty. Gene Dobbs Bradford (BM ’89) newer pieces, to standards by Harold Arlen and Henry Jeffrey A. Showell (BM ’74, traded classical double bass for the Mancini. Live at the Jazz Standard is available only from MM ’76) is director of the James harmonica; in his July 28 show at www.mariaschneider.com. Madison University School of Music, St. Louis’ Jazz at the Bistro, Gene which he called “one of the best-kept showed off his blues chops on harp Pianist Marilyn Nonken (BM secrets in the music world” before and vocals. ’92) has three recent CDs: Out the School’s nine-concert show- of Chaos, chamber music of case series at Washington’s Kennedy Emily Freeman Brown (Adler) Center began on September 28. (DMA ’89) concluded a successful Jason Eckardt with Ensemble 21 Madison plans to open a new per- two-year term as president of the (Mode); Martian Counterpoint, forming arts center in 2009. Conductors Guild in January 2005. solo pieces by David Rakowski “I was happy to be able to turn over (Albany); and Tristan Murail: The David Snow (BM ’76) was recently the reins of an organization that now appointed cataloger and archival pro- runs in the black,” she writes. “Who Complete Piano Music (Metier, 2 CDs). Check out www. cessor at the Lila Acheson Wallace would have guessed that someone ensemble21.com/nonken for information. Library of the Juilliard School. trained entirely as a musician could positively influence this transition!” Jessica Suchy-Pilalis (MM ’79, This spring, Emily conducted two ➤ Do you have music or performances on a recent or MA ’82) presented “The Use of concerts in Romania. forthcoming CD? Notes wants to know! Send promo the Harp in the Chamber Music of Arnold Bax” at the Ninth World Darren R. Cohen (BM ’86) was copies to Eastman Notes, Office of Communications, Harp Congress in Dublin. She is fea- the music director for a revival of Eastman School of Music, 26 Gibbs Street, Rochester, NY tured in Debussy’s Danse Sacrée et Stephen Sondheim’s celebrated 14604; or just alert us that it is available. Danse Profane on the Orchestra of musical Follies at the Barrington New York’s latest CD, Invitation to (MA) Stage Company in July 2005. the Danse. She is on the artist roster CONTINUED ON PAGE 42

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CONTINUED FROM PAGE 41 recent program Much to Do About The production, which starred Tony Shakespeare featured Shakespearian winner Donna McKechnie, received texts in contemporary musical set- excellent notices. tings by Rutter, Shearing, P.D.Q. Bach, and others. Actors recited selected Donna Coleman (DMA ’87), who is song texts in period costumes, and head of the keyboard department at an instrumental consort greeted the the Victorian College of the Arts in audience. The ensemble will perform Victoria, Australia, spent the month in Scotland and Ireland in 2006. between October 15 and November 15, 2005 in the United States, playing Andre Lash (DMA ’87) was recently concerts featuring Charles Ives’ Piano named organist at Christ United Sonata No. 1, which Donna has also Methodist Church, Greensboro, NC, recorded. (See “Alumni on CD,” p. 37) where he will oversee the church’s Fisk Organ Op. 82 and direct hand- Tim Conner (BM ’85) is full- bell activities. Trumpet and Stops, time professor of trombone at the a CD featuring Lash and trum- University of Miami Frost School of peter Edward Sandor, was recently Music, where in addition to teach- John Fedchock with Marcus Wyatt in South Africa. released. ing private lessons he conducts the UM Trombone Choir. This follows form in the National Arts Festival. is associate professor and chair of the Dan Locklair’s (DMA ’81) Spreckels’ 18 years as principal trombone of The only American musician invited music theory department at Temple Fancy for organ was premiered at San the Florida Philharmonic Orchestra, to perform, John was part of a multi- University, and lives in Glenside, PA Diego’s Balboa Park on June 20. The which filed for bankruptcy in 2003. national jazz quintet co-led by South with his wife, violinist Yu-Hui Tamae work, commissioned to celebrate the Tim continues to perform with African trumpeter Marcus Wyatt (pic- Lee (BM ’85) and their daughter 90th birthday of one of the world’s Florida Grand opera and various tured with John). John also performed Michelle, age 7, “who is already com- largest outdoor organs, is Locklair’s other groups in South Florida. in, and contributed arrangements for, posing little piano pieces—maybe a third major organ commission in 18 a multi-national big band comprised future comp major at Eastman!” months, the others being In Mystery Audrey Cupples (BM ’86) writes, of musicians from more than a dozen and Wonder: The Casavant Diptych “I got married August 6 to Steve countries. In addition to his festival John Kramar (BM ’85) was appointed and Salem Sonata. Longoria. We are both members appearances, John conducted clinics interim associate dean of the College of the saxophone section in the and workshops at the University of of Fine Arts and Communication at Patricia Ann Martin (BM ’84) is “President’s Own” U. S. Marine Band. Cape Town and for the Standard Bank East Carolina University. John spent associate professor of woodwinds at We toured with the band across the National Youth Jazz Festival. a busy summer as assistant direc- Southern University (LA), and has southwestern U.S. from October tor at Chautauqua Opera and solo- been principal clarinet of the Baton 3¬November 20.” A Screaming Comes Across the Sky, ist in Interlochen Arts Academy’s Rouge Symphony Orchestra for 10 a new orchestral piece by David Carmina Burana, conducted by Hugh years. Bradley Ellingboe (MM ’83, Heuser (BM ’89), was premiered last Floyd (MM ’85). Upcoming engage- MM ’84), director of choral activities summer by the Texas Music Festival ments include Messiah in Bermuda’s Pianist Teresa McCollough at the University of New Mexico, has Orchestra, Carl St. Clair conducting. Ensemble Singers, judge of the (MM ’88, DMA ’91) presented a been elected to the board of direc- The Houston Chronicle called it “all- Orpheus National Voice Competition solo recital in the Beijing Modern tors of the Choristers’ Guild—an American music at its most dynamic in Tennessee, director of Middle Music Festival, featuring a new com- organization devoted to advancing and visceral … continually engaging Tennessee State University Opera missioned work for solo piano and the cause of choral singing among mind and body as it careened along.” Theatre’s production of Dialogues Chinese gongs by Zhou Long. children and young people in the His O The White Towns was recently of the Carmelites, and a new Albany United States and Canada. Bradley’s released on a CD of music by San Records CD, The Major’s Letter: Songs William Meckley (PhD ’85), profes- recent compositions include innis- Antonio Composers (see “Alumni of Gary Smart. sor and chair of the music depart- free, written for the Harvard Glee on CD,” p. 39). David is associate ment at Schenectady County Club, and Revelations for choir, brass, professor of music at the University Allen Lanham (PhD ’87), immediate Community College, received the organ, and timpani, published by of Texas at San Antonio. He and past president of the Illinois Library 2005 SUNY Chancellor’s Award Kjos Music. his wife Cherie have two children, Association was recently honored for for Excellence in Scholarship and Gwyneth (8) and Julian (3). his success in advocacy for libraries, Creative Activities at the College’s Master Sgt. Thomas Enokian (BM and for his research for the History 35th annual Commencement on May ’89) is percussion group leader in the Sion M. (Ted) Honea (MA ’80) was of Illinois Libraries and Librarians 28, 2005. William has been a mem- U.S. Army Field Band, which tours the appointed head of the division of exhibit, which debuted in Chicago in ber of SCCC’s music department country during the spring, fall, and music theory and music history at 2004. He is the dean of library ser- since 1984. He directs the SCCC Jazz winter. By midsummer 2005, Thomas the University of Central Oklahoma’s vices at Eastern Illinois University in Ensemble and Brass Ensemble. and his 65 cohorts in the Army Field School of Music, and received a Dean’s Charleston, and served the U.S. State Band had performed for nearly a mil- Fellowship in order to pursue research Department this past year as a library John Edward Mitchener (MM ’89, lion people during 229 events in 133 cit- relating to early wind literature. consultant for programs in Costa MM ’94, DMA ’95) married Julia ies, and also on televised Independence Rica, Peru, and El Salvador. Woolfolk Boyd in Charlotte, NC on Day celebrations on CBS. Michael Klein (BM ’85, MM ’87) June 25, 2005. John is Kenan Professor sends word of his new book Christine Lapp (Ayala) (MM ’83) of Organ at North Carolina School John Fedchock (MM ’85) traveled Intertextuality in Western Art Music performs in an 18-voice chamber for the Arts, associate professor and to South Africa in July 2005, to per- (Indiana University Press). Michael ensemble, The Florida Voices. Its college organist at Salem College,

42 Eastman Notes | January 2006 PHOTOGRAPH COURTESY JOHN FEDCHOCK

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 ALUMNI NOTES

and organist of St. Paul’s Episcopal Mower’s Concerto for Alto Saxophone Jessye Norman Sings for the Healing Excellence in Teaching at the school’s Church, Winston-Salem, NC. and Wind Orchestra, one of three of AIDS, and performed Joe in Show 156th commencement in June 2005. works commissioned by Miles with a Boat in Sacramento and Chicago. David Moore (PhD ’86) writes, “Last UK Research Support Grant. All three Derrick recently had two callbacks Anthems, hymns, and music for brass May my Three Spring Songs (texts will be released on a 2-CD set called for a role in The Lion King, and is and organ by David Evan Thomas by Thomas Nashe, A.E. Housman, Commission Impossible (Sea Breeze) in keeping his fingers crossed! After (MM ’83) filled the Cathedral of and William Blake) were premiered 2006. Miles’ commission project was working on a children’s music record- St. Paul, MN, in a concert on April by the University of Tulsa Chorale, featured in the UK’s research journal, ing with ECMS faculty members 29, 2005, marking the conclu- directed by Kim Childs. November Odyssey—the first time that someone Cecile Saine and Howard Spindler, sion of a two-year residency with 8 was the premiere of my Requiem in the arts was featured. Derrick took part in Songfest at the Cathedral and Westminster (English texts from the Book of Pepperdine University (CA), sing- Presbyterian Church, Minneapolis— Common Prayer) for choir, baritone Organist Adrienne Pavur (BM ’87, ing the works of John Harbison and part of the American Composers solo, trumpet, and organ at Memorial DMA ’96) recently returned from Jake Heggie. Derrick ran the vocal Forum’s Faith Partners program. Drive United Methodist Church in a concert tour of Scotland with the program in Eastman’s summer Music Tulsa, OK, where I am minister of Rutgers-Newark University Choir. Horizons, and continues to teach For the past four years, Kurt Weiss music. I continue to teach theory at Her performances with the choir and voice in Eastman Community Music (BM ’84) has lived in Amsterdam, University of Tulsa School of Music, as a soloist were described by critics School. He and his wife Merideth are the Netherlands. He is professor along with my wife, Susan Goldman- as “gently expressive, moving, sensi- the parents of Wyatt (9), Mimi (5), of trumpet/jazz arranging at the Moore (BA ’71), who teaches music tive, and technically brilliant.” Lily (4), and Julia (1∂). Prins Claus Conservatorium in education and voice. I also direct the Groningen, where he also teaches Chapel Choir of Phillips Theological Kari Ravnan (BM ’81), who in 2001 Paul Sportelli (BM ’83) was respon- theory and solfège, and conducts the Seminary, and the High Holy Days joined the cello section of the Oslo sible for music of all kinds at the Conservatorium big band, which per- Choir at Temple Israel, Tulsa.” Philharmonic Orchestra, was the 2005 Shaw Festival in Niagara- formed at the North Sea Jazz Festival subject of a long profile in the August on-the-Lake, Ontario: as music in July 2004. Kurt is also director Katherine Murdock (PhD ’86) 22 Lincoln Journal Star during her director of Weill’s Happy End; reor- of the Utrecht Jazz Orkest and the received a “Post Professorial annual summer visit to her parents’ chestrating and conducting Styne Ost-Friesland Big Band in Norden, Incentive” promotion at Wichita home in Lincoln, Nebraska. From and Sondheim’s Gypsy; composing Germany, and tours and guest con- State University, where she has 1984 to 2001, Kari played in several incidental music for Ann-Marie ducts frequently. taught music theory and composi- Norwegian orchestras before landing tion since 1985. She is the founder the extremely competitive job in Oslo. and director of the Wichita State University Contemporary Music The newest book by Tim (Mikesell) Festival, which celebrated its 15th Riley (MM ’85) is Fever: How Rock year with a visit from composer ’n’ Roll Transformed Gender in America George Crumb. Katherine has (St. Martin’s Press). Tim is also pop received the College of Fine Arts critic for NPR’s Here and Now, and Excellence in Creative Activity is working on a biography of John Award at Wichita State, and in 2003 Lennon for W. W. Norton publishers. her composition Trees Dream of Dancing was premiered at Carnegie Bridget-Michaele Reischl (BM ’85) Hall’s Weill Recital Hall. was appointed visiting associate pro- fessor of conducting at the Oberlin Tom Nazziola’s (BM ’88) recent Conservatory of Music. She will retain projects include orchestrating music her position as music director of the for the US Open Women’s Finals Green Bay Symphony Orchestra, broadcast on CBS September 10, which she has held since 2001. 2005; background music and song arrangements for the PBS children’s On June 15, 2005, Amy Chang Heidi Chisholm Wolfgang at work at Interlochen. show DittyDoodleworks; and perform- Simon (BM ’87, MM ’91) performed ing on the latest Baby Einstein DVD, the Dvoràk Cello Concerto with MacDonald’s Belle Moral: A Natural Heidi Chisholm Wolfgang (BM ’84), Neighborhood, to be released in 2006. the YiQin Symphony Orchestra in History; and composing Tristan, a director of the Music Institute at the National Concert Hall, Taipei, chamber musical based on a story by Hackley School, took time last sum- Roger Nye (BM ’86) recently joined Taiwan, conducted by Gordon Thomas Mann. mer to return to her roots at the the bassoon section of the New York Shi-Wen Chin (PhD ’86). Amy is Interlochen Arts Camp in Michigan, Philharmonic after 11 years with the the associate principal cello in the Baritone Steven Stull (BM ’86) where she served as the instrument Omaha Symphony. Roger and his Toledo (OH) Symphony Orchestra, appeared as Count Danilo in Oswego repair technician. wife, oboist Caroline Park (MM ’85) and on the faculty of the University Opera Theatre’s October production recently adopted a baby from Samoa; of Toledo. of Lehár’s The Merry Widow. Also in Zeke is now two. the cast, as Camille, was Grant Knox 1990s Baritone Derrick Smith (MM ’88) is (BM ’03, MM ’05—see 2000s). Miles Osland (MM ’87), director of a frequent oratorio and concert solo- Jonathan G. Bayley (MM ’92) pub- jazz studies and professor of saxo- ist in New York State and in Toronto. Fred Sturm (MM ’84), former chair lished his article “Fundamentals of phone at the University of Kentucky, He recently performed with Renée of Eastman’s jazz studies and contem- Successful Flute Playing” in Canadian was soloist with the UK Wind Fleming (MM ’83) at Rochester’s porary media department, received Winds/Vents canadiens: Journal of the Ensemble in the premiere of Mike School of the Arts, was a soloist in Lawrence University’s Award for CONTINUED ON PAGE 44

PHOTOGRAPH COURTESY HEIDI CHISHOLM WOLFGANG January 2006 | Eastman Notes 43

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Nicole Cabell

CONTINUED FROM PAGE 43 of Bach, Chopin, and Prokofiev at Canadian Band Associates. He is an Campolindo (CA) High School to associate professor of music educa- benefit the school’s choral group. tion at the University of Windsor, Faculty of Education. Chris Carbone (BM ’93) is a partner in the law firm of Loeb & Loeb LLP, Composer Armando Bayolo where he is primarily engaged in (BM ’95) was recently featured on entertainment and media litigation. WNYC Radio’s nationally syndicated Chris is also involved in pro bono show Studio 360. He legal work, including discussed works that his current represen- have influenced him tation of a statewide as a composer, primar- class of Mississippi ily Louis Andriessen’s foster children seek- De Materie. Armando ing sweeping reforms is increasingly busy in the state’s child wel- as composer and per- fare system. He is also former. In 2004 he known, from time to traveled to Germany time, to provide free for a performance of legal advice to his Action Figure by the Armando Bayolo musician friends. Chris Ensemble Courage, married his better, and conducted the premiere of In Sasha, in 2003, and they currently Darkness … at Lee University (TN). live in Manhattan. After a prolonged In February 2005 he heard Fanfares, hiatus, Chris recently began playing Showing off commissioned by the University of the tuba in The Lawyers’ Orchestra Oregon (Eugene) Wind Ensemble; and, happily, no longer sees his There’s even more to the Eastman Experience than in July he premiered Piano Sonata: career flash before his eyes when he is contained in Notes! Each month, the “Eastman Suonare Rapsodico, St. Luke’s Summer, cracks the occasional note. and Two Little Romances. Armando Showcase” section of our website shines a light on a conducted his passion oratorio Flutist Linda Chatterton (BM ’90) different Eastman alumnus, faculty member, or current Towards Golgotha in Portugal (it completed a nine-state concert student. Recent showcases include: will tour the U.S. in summer 2006). tour with harpist Ann Lobotzke Ludi, for two string quartets, will be and recently released two CDs: • Music by Eastman legends Alec Wilder and premiered by the Euclid and Degas The Romance of Flute and Harp and Howard Hanson on CD Quartets at the 2006 Aspen Music Gabriel’s Message: Christmas Carols festival. Armando lives in Alexandria, which includes • Percussionists Bill Cahn (BM ’68) and Bob Becker for Flute and Harp, VA, with his wife Sharon and their a piece written by David Evan (BM ’69, MM ’71) turn A Page of Madness with Nexus three-year-old daughter Olivia. Thomas (MM ’83). • Violist Paul Miller (MA ’00) premieres a Stockhausen piece, in friendship David Beauchesne (BM ’94, In August 2003, hornist Rebecca MM ’99) has been named head Effler (BM ’99) married trombon- • Nicole Cabell (BM ’01)—The Singer of the World! of the newly formed Community ist Lee Rogers, whom she met at • Betsy Fitzgerald (BM ’99) brings Broadway, molto Division at Georgia State University’s Southern Methodist University in Vivace, to the kids of American servicemen and School of Music. The division coor- 2001 while completing her mas- women in Japan dinates the community engagement ter’s degree. The wedding party efforts of the school, including pro- included maid of honor Katie Young • Double bass professor James Van Demark—performer fessional development workshops, (BM ’01), bridesmaid Deirdre Foley and producer conferences, master classes, and Hutton (BM ’99), and bridesmaid festivals, as well as Neighborhood Carolyn Triozzi Gardner (BM ’00). The site is updated and archived each month, so keep Music Schools, a community music Performing in a brass quintet was visiting www.esm.rochester.edu/experience/showcase school serving over 800 students at the late Scott Parkinson (BM ’98). (and reading Notes, of course). 8 teaching locations in the metro- Becky and Lee currently reside in Atlanta area. Beauchesne is also a Cincinnati. Becky freelances in the lecturer in music education. OH/KY/IN tri-state area, teaches Stockhausen’s Im Freundschaft, edited by Paul Miller. privately, and is a substitute horn- Daniel Brondel (MM ’95) is musical ist with the Cincinnati Symphony director of the prestigious Cathedral Orchestra and Cincinnati Pops. of St. Patrick Young Singers, a choir In 2002, Becky was the String for girls and boys in grades 3-12 who Orchestra Director at the Lake have “the desire and the ability to Highland Freshman Center in Dallas. sing quality choral music.” Eric Fung (BM ’97, MM & MA ’99) In May, pianist Paul Caccamo married Ai-lin Hsieh (MM ’00) on (MM ’98) performed a solo recital June 4, 2005. Eric and Ai-lin gradu-

PHOTOGRAPH COURTESY ARMANDO BAYOLO

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 ALUMNI NOTES

ated with their DMAs from the as a harpsichordist and pianist: at Evan Jones (MA ’95, MM ’96, Robert Lehmann (MM ’92) con- Juilliard School and the University UNH, he played continuo for con- PhD/DMA ’02) presented “Three tinues as Director of string studies of Maryland at College Park in May certs of Monteverdi madrigals and Perspectives on Voice Leading in and orchestras at the University of 2005, respectively, and began teach- Bach’s St. John Passion, and also per- Wolf’s ’In der Frühe’” at the national Southern Maine School of Music, ing at Lebanon Valley College in formed Cage’s Two2. He is writing meeting of the Society for Music and as Music Director of the North Annville, PA, this fall. a short biography of John Cage for Theory in Cambridge, MA. In July Shore Philharmonic Orchestra (MA). Reaktion Books’ Critical Lives series. 2005, he gave five performances Career highlights from the last year Ingrid Gordon (BM ’92) and her of music for cello and organ, with include performing the Mendelssohn husband Alexander Gelfand are Christopher Heacox (MM ’97) has organist James Calkin, in Toronto Violin Concerto with the Northern proud to announce the birth of their been named Executive Director of and London, Ontario, and in Maine Chamber Orchestra, guest son Lazar Gordon Gelfand on May the Riverside Fine Arts Association Yarmouth, Halifax, and Chéticamp, conducting the Kharkyv Symphony 26 in New York City. in Jacksonville, FL, presenter of a Nova Scotia. He completed an essay Orchestra in Ukraine, collaborat- chamber music series and an organ on Schubert’s “Arpeggione” Sonata ing with Brett Deubner’s (MM ’93) This September, Kristen S. Hansen concert series (www.riversidefinearts. for a forthcoming book on sonata Halcyon Trio, conducting six staged (MM ’93, DMA ’00) presented a org). This fall, Chris began his doc- forms by Gordon Sly (PhD ’95), and performances of The Magic Flute at guest recital at the University of Iowa toral work in educational leadership is editing Intimate Voices: Aspects USM, conducting the ASTA String School of Music, performing music at the University of North Florida. of Construction and Character in the Festival in Waikiki, HI, and perform- mostly from the 20th century. The Twentieth-Century String Quartet for ing as guest artist with the DaPonte highlight of the program was Word Erich Heckscher (BM ’94) is the University of Rochester Press. String Quartet. Tricks for solo horn by Peter Hamlin Principal Bassoon with the Britt Evan reminds us that he is one of (PhD ’99), commissioned by Hansen Orchestra and the Houston Grand fourteen ESM alumni on the Florida Bree Lewis (BM ’99) writes that through the International Horn Opera Orchestra. He was formerly State University faculty! she left her school job in Punahou, Society for Eastman’s 75th anniver- second bassoon with the Alabama Hawaii, to open her own viola studio. sary. Hansen currently teaches horn Symphony Orchestra and Houston Gregory Jones (DMA ’92), She was also planning a mission trip and music theory at the Schwob Ballet Orchestra. He has played Professor of Music at Truman to Argentina, and attending Pacific School of Music at Columbus (GA) with the Indianapolis and Dallas State University, led the Truman Rim Bible College. “I do believe I State University. Symphony Orchestras and the State University Cantoria and was born to be a free spirit and given Atlanta Opera Orchestra, and has Brass Ensemble in a tour of Greece the gift of fearlessness in going to In August, violinist Kelly Hall- participated in summer festivals in (Athens and Corfu) and Italy new places. I am now in a real place Tompkins (BM ’93) gave the fifth Sarasota, Breckenridge, Cleveland, (Cremona and Lucca). Gregory was where I can continue on that trend! performance of the Music Kitchen, a and Durango. a guest on the prestigious National Take care and I hope to hear from project in which she performs clas- Radio Third Programme in Athens, everyone!” sical music at local shelters. Along Michinobu “Mitch” Iimori Greece, in June, playing music with violist Junah Chung, Kelly per- (BM ’93) has been adjunct instruc- from his CD Alternate Voices and Pianist Marina Lomazov (BM ’93, formed Mozart duets for an enthusi- tor of oboe at several universities and discussing music performance and DMA ’00) performed Tchaikovsky’s astic audience at the Olivieri Center colleges in the Portland/Salem, OR education. Gregory also recently per- Piano Concerto No. 1 with the for Women. area. He was featured in J. S. Bach’s formed at the International Trumpet Redlands Symphony Orchestra this Concerto for Violin and Oboe with the Guild Conference in Bangkok, and September. Christopher Harding (BM ’92) Salem Chamber Orchestra in March touring as a soloist with piano and completed his first year on the piano 2005. In May, he played oboe, flute, with orchestra in Nanjing, Tianjin, Miranda L. Loud (MM ’94) orga- faculty of the University of Michigan English horn, and shamisen in con- Weihai, Hong Kong, and other cities nized an unusual multimedia con- School of Music, where his appoint- certs of Portland’s Taiko (Japanese in China. cert series at the St. Peter’s Episcopal ment is split between teaching piano drumming group). Church in Weston, MA for the performance and chamber music. Bassoonist Kimberly D. Buchar 2005¬2006 season, presenting His recent performances as a soloist Guitarist Chris Jentsch (MM ’93) Kelley (MM ’99) recently finished programs that interweave classi- and chamber musician have taken returned to Rochester in November a DMA at the University of Illinois cal music with nature in such con- him to Korea, Japan, Israel, and to give two performances of his in Champaign-Urbana, where certs as “A Voyage Along the Grand around the United States, and he has music and to give a talk entitled she focused on works for bas- Canal: Venice in Word, Image and recorded three CDs on the Brevard “Negotiating the Grants World soon and piano by living American Music,” “The Many Faces of Love” Classics label. He and his wife Yuki for Composers and Performing female composers. In Illinois, she and “Elephants and Organs.” (Kanayama) Harding (BM ’92) Musicians.” The talk, sponsored performed with several regional live in Dexter, MI, with their sons by Eastman’s Institute for Music orchestras and taught at local uni- Frank Martignetti (BM ’99) Andrew and Daniel. Yuki pursues Leadership in association with the versities. She recently moved to West recently joined the music faculty at a career as a freelance oboist and Ewing Marion Kauffman Foundation, Grove, PA with her husband Jerry, the University of Bridgeport (CT), English hornist, and is a prolific reed was co-sponsored by the Jazz and teaches at Messiah College in where he teaches vocal music edu- maker for a national clientele. Studies and Contemporary Media Grantham (PA), Dickinson College cation and founded the University Department. in Carlisle (PA), and the Maryland Singers. He is in his third year Rob Haskins (MA ’97, DMA ’98, Conservatory of Music in Bel Air. as Director of Music at both the PhD ’04) began a tenure-track job Joseph P. Johnson (BM ’95), cel- St. Paul’s Lutheran Church in as assistant professor of music at list with the Minnesota Orchestra, Caroline Kinsey (BM ’90), principal Bridgeport and at the High School in the University of New Hampshire. appeared with the Northwest Florida horn with the Arkansas Symphony the Community in New Haven, and He read three papers on John Cage Symphony Orchestra in the Dvoràk Orchestra and an extra with the is also on the faculty of New Haven’s at conferences in Calgary, Alberta; Concerto as part of the NFSO’s sea- Memphis Symphony, has been Neighborhood Music School. Eugene, OR; and Manchester, son opening program, “Bohemia: named third/utility horn with the England. Rob continues to perform Czech It Out.” Memphis Symphony Orchestra. CONTINUED ON PAGE 46

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CONTINUED FROM PAGE 45 trumpet soloists, in Eric Ewazen’s Robert Paterson (BM ’95), AME’s tral compositions performed at Mario Martinez (MM ’99) returned (BM ’76) Emerald Rhapsody, a piece Artistic Director. major venues. River Rush was per- to his native Dominican Republic in written especially for the occasion. formed at the Cabrillo Festival August to work with the country’s Paul has been principal trumpet for Maria Perez-Goodman (BM ’90) of Contemporary Music under National Choir as part of its 50th the Montreal Symphony Orchestra recently performed a solo piano the baton of Marin Alsop, and anniversary celebration. For three since 1995. recital at the Sturges Center for the his Vespertine Symphony (inspired weeks, he conducted the 70-mem- Fine Arts in San Bernardino, CA. by Icelandic pop singer Bjork’s ber choir, coached the solo sing- The Milwaukee Symphony Orchestra She currently teaches at Cal Poly “Vespertine” album) was performed ers, and prepared the repertoire recently appointed Randall Pomona, Claremont Community by the New World Symphony. for a performance in the National Montgomery (BM ’95) principal School of Music, and Azusa Pacific Conservatory of Music. Mario is cur- tuba. After the audition, one of the University. Todd Rewoldt (MM ’99, DMA ’01) rently the coordinator of vocal stud- audition committee members told was recently appointed assistant pro- ies at Nazareth College’s department the Milwaukee Journal Sentinel that Stanley Pelkey (MA ’96, PhD ’04) fessor of saxophone and theory at San of music in Rochester, NY. Montgomery “makes the music come joined the faculty of the School Diego State University. He has pub- alive. He’s the cream on top of the of Music at Western Michigan lished several articles in Saxophone Working closely on projects with The sundae, the guy who can not only be University, where he teaches courses Symposium and given world pre- Four Bags, Between Green, Allison a partner but an inspiration.” in music history, literature, and miere performances at Imagine II Tartalglia, DDYGG, Matt Classmeye ethnomusicology. The University (Memphis, TN) and the 13th Annual Marching Band, and OK|OK, saxo- Primo Mussumeci (BM ’94, of Mississippi Press published his Ussachevsky Festival (Pomona, CA). phone/clarinet player and com- MM ’96) married Gina Belculfine on book, Music and History: Bridging the He has been married to alumna poser Michael McGinnis (MM ’97) July 3, 2004. Primo currently teaches Disciplines, co-edited with University Michelle Rewoldt-Procopio is keeping very busy. He recently music in the Webster (NY) Central of Rochester alumnus Jeffrey Jackson, (BME ’02) for over three years. appeared in Brooklyn’s Third Annual School District. in 2005. Pelkey also remains active Williamsburg Jazz Festival. This as an organist. Jennifer Rhodes (BM ’96) recently fall, he was a member of the house Ben Newhouse (BM ’98) recently won the principal bassoon post with band on the ABC weekly game show wrote Producing Music with Digital Violinist Janka Pernisz (BM ’99) the Memphis Symphony Orchestra. My Kind Of Town, along with Jeff Performer, in which he provides recently participated in a Delaware She also performs as second bas- Hermanson (BM ’99) on trumpet/ strategies behind one of the most Classical Showcase concert in an soon with the Opera Orchestra of flugelhorn. powerful music production soft- unusual program of music for guitars, New York. ware programs. After working at violin, and marimba. In addition Amy (Rood) McKenzie (BM ’96) is the Berklee College of Music as an to novel arrangements of works by Tenor Eric Rieger (BM ’99) and singing in her third season with the associate professor, Ben returned to Bach, Poulenc, and Villa-Lobos, the violinist Aimee (Llewellyn) Rieger San Francisco Opera Chorus. She school to earn an MBA. concert featured violin music of the (BM ’99) have settled in Trier, lives in Piedmont, CA, with her hus- Hungarian gypsies and classic Bossa Germany where Eric holds a fest band Tom and two-year-old son Scott. Pianist Amber Shay Nicholson Novas by Jobim. position as Lyric Tenor and Aimee (BM ’99, MM ’01, DMA ’04) is in her freelances and teaches private les- Lynne McMurtry (MM ’93) writes, second year as Assistant Professor of In July, John “Stephen” Pierce sons. After marrying in September “I just finished singing the role of Piano at the University of Southern (BM ’91) became the president 1999, they moved to Glasgow, Gertrude in Roméo et Juliette with Mississippi in Hattiesburg, MS. She of the North Jersey School Music Scotland where Eric obtained his Opera Ontario, and am doing a married Jeremy Nicholson in August. Association, after serving on their Masters in Opera Performance and program of Mahler songs with the executive board for four years. In Aimee worked as an arts administra- Winnipeg Symphony, as well as a Pianist Marilyn Nonken (BM ’92) October, he received his Ed.D tor. They lived in Philadelphia and song recital at Dickinson College win sends word of performances in in music and music education then Zurich, Switzerland before Carlisle, PA, where Jennifer Blyth New York, Boston, Cleveland, and from Teachers College, Columbia moving to their current location. (MM ’93, DMA ’97) is on the faculty.” Washington DC; appearances in University in New York City. His They are excited to announce the She’ll sing Erda and First Norn in the Denmark with Ensemble 21, which degree recital was performed on an upcoming arrival of their first child Canadian Opera Company produc- she directs; and world premieres 1888 Steinway, with assistance from in January. tion of Der Ring des Nibelungen, coin- of works written for her by Jason oboist Laura Griffiths (BM ’91). He ciding with the opening of the new Eckhardt, Pascal Dusapin, and Drew was married in November. Lisa Ann Seischab (BM ’90) opera house in Toronto. Baker. (See “Alumni on CD,” p. 39.) recently joined the Fund for Johns Berkeley A. Price (MM’94, Hopkins Medicine as Associate Tenor John McVeigh (BM ’93) had in August, the Spokane-Coeur DMA ’96) was married to Erica Seely Director of Development for the a busy summer, singing with the d’Alene Opera presented an outdoor in March. He has been the music Department of Psychiatry. Currently Teatro Carlo Felice in Genoa and concert featuring soprano Heather director of the Palos Verdes (CA) enrolled in a graduate program in the Central City Opera, and at the (Steckler) Parker (MM ’98) and Regional Orchestra for the past two Non-Profit Studies at Hopkins, the Ravinia Festival in Chicago. He can baritone Derrick Parker (MM ’98). years, and was recently appointed ESM bassoon major is also a member be heard on the recently released CD The Parkers’ 2005¬2006 concert sea- Professor of Music at Antelope Valley of the Hopkins Symphony Orchestra of the Houston Grand Opera pro- son schedule includes appearances in College in Lancaster (CA). He con- and was recently nominated to serve duction of Carlisle Floyd’s Cold Sassy Kansa City Lyric Opera’s Carmen and tinues to freelance as a clarinetist, on the orchestra’s Board of Directors. Tree(Albany Records). Granite State Opera’s Elixir of Love. and recently toured Greece, China, and Panama with Deon Nielsen Price Joel Schoenhals (MM ’96, DMA 98) Trumpet player Paul A. Merkelo The American Modern Ensemble as part of the Price Duo. is assistant professor of piano at the (BM ’91) appeared with the newly recently announced its first full sea- Department of Music and Dance at formed Thailand Philharmonic son, after a successful inaugural con- Kevin Puts (BM ’94, DMA ’99) Eastern Michigan University, where Orchestra, along with three other cert in April featuring the music of recently had two of his orches- he received the University’s Artistic

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Recognition Award and the New at York University’s Schulich School ing with the New Jersey Symphony Church in Penfield, NY, gave a con- Faculty Award in his first year on the of Business in 2000. He is currently Orchestra. She is engaged to bass- cert at Webster Baptist Church this job. (See “Alumni on CD,” p. 39.) the Ontario Regional Director for ist Carl Ferre-Lang, whom she met September to celebrate the village of the Canadian Music Center, a post while completing her Master of Webster’s centennial. Last June, Jane Solose (DMA ’91) he has held since 2003. He received Music degree in Arts Administration performed with the Gwangju City the Pfizer Special Commendation for from Southern Methodist University. Soprano Heather Davis (BM ’04) Orchestra in Beethoven’s “Emperor” Emerging Arts Managers in 2003, a performed a recital at Trinity Church Concerto in a concert broadcast on national-level award for Canadian Matthew Beecher (BA ’00) stays in Rutland, VT with pianist Gregory TV and radio by KBC Kwang-ju arts managers with 2¬5 years of busy playing fourth horn with the DeTurck (BM ’04) and members of Broadcasting. She also performed experience in the field. Madison (WI) Symphony, third the Lakes Region Youth Orchestra to solo recitals at the Gwangju Culture horn with the Dubuque Symphony, kick off the Crossroads Arts Council’s and Art Center, Chosun University, Lori Wike (BM ’99) assumed the second horn with the LaCrosse 34th season. Greg is in his second and Honam University. In July, Jane post of Principal Bassoonist with Symphony, and principal horn with year of master’s study in piano at returned to Eastman to present the Utah Symphony Orchestra the Manitowoc Symphony. Juilliard; Heather just started her a recital in the Summer Concert in July. She completed a master’s master’s degree at the Peabody Series. This fall, she presented an all- degree in comparative literature at Kyle Blaha (BM ’04) recently won Conservatory. Liszt recital in the Great Romantics the University of California at Irvine, the Arthur Friedman Prize from Festival at McMaster University in while taking advantage of Southern the Juilliard composition depart- Evan Feldman (DMA ’02) recently Hamilton, Ontario. California’s busy freelance scene. ment, resulting in the premiere of became Director of Bands at the his orchestral work Broken Colors by College of William and Mary in Noelle Soto (BM ’98) recently grad- Michael Shane Wittenburg the Juilliard Orchestra at Lincoln Williamsburg, VA. He presented “The uated from Urban Impact Through (BM ’96, MM ’98) conducted the Center. Broken Colors also won a Evolution of Prokofiev’sCantata for Education (UNITE), a program Lee University Chamber Orchestra in 2005 ASCAP Morton Gould Young the 20th Anniversary of the October of Inner City Teaching Corps in concert on November 15, 2005. An Composer Award. Revolution into the Ode to the End of Chicago. UNITE is an alternative Assistant Professor at Lee, Michael is the War” at the summer 2005 World teaching certification program dedi- in his fifth year as a full-time instruc- Katie Buckley (BM ’02, MM ’04) Organization of Symphonic Bands and cated to serving children in under- tor, his third year directing the recently won the principal harp Ensembles conference in Singapore. resourced schools and communities. orchestra, and his fifth year of direct- position in the Iceland Symphony Noelle received an Illinois teaching ing the Lee University Opera Theatre, Orchestra. Pianist Anna Gerrish (MM ’03) certificate, and is pursuing an MS which he will lead in its first for- joined the faculty at the Levine in Education from Northwestern eign-language production—Mozart’s In June, violinist Kathleen “Kate” School of Music in Washington, DC, University’s School of Education and Zauberflöte—in February 2006. Carter (MM ’05) returned to her in the Early Childhood Department. Social Policy. She currently teaches undergraduate alma mater, the Upper Elementary Grade at South Gregory Yasinitsky (DMA ’95) University of California at Irvine, to Eric Goldman (BM ’02) began work Loop Elementary. is the recipient of the 2005 perform the Sibelius Concerto with this summer as the new Corporate, Edward R. Meyer Distinguished the UCI Symphony Orchestra. Foundation, and Development In addition to her duties as clarinet- Professorship Award and the College Assistant for the National Symphony ist and Development Officer with of Liberal Arts 2004¬2005 Faculty See Tsai Chan (DMA ’02) has joined Orchestra, Washington, DC. the up-and-coming contemporary Distinguished Achievement Award the music staff at the First United music ensemble Alarm Will Sound, from Washington State University. Methodist Church, Springfield, IL. Clarinetist Juliet Grabowski Elisabeth Stimpert (MM ’99) has Greg is Coordinator of Jazz Studies She started as organist on the first (BM ’04) has spent the last seven been appointed to the faculties of at WSU. He has a national reputation Sunday in June, and began directing months working full time in both Dickinson College and Bucknell as a composer and saxophonist, with a new adult choir at the church in Eastman’s Office of Communications, University as Contributing Faculty over 120 works published by top September. where her primary responsibilities lie in Clarinet. companies including Kendor Music, in the areas of web-based communi- Advance Music (Germany), Belwin Yasmin Craig (MM ’01) writes, cations, public relations, photography Pianist Anthony Tobin (BM ’90) Jazz, Hal Leonard, and others, per- “After completing a three-year orches- coordination, and print publications toured Switzerland in July with the formed in more than 30 countries. tra fellowship with the New World (including assistant editorship of Austin Eurhythmy Ensemble and Symphony under the direction of Notes). She continues to freelance in will perform with them in March in The legendary Kronos Quartet Michael Tilson Thomas, I moved to the Western New York region, and Germany and Switzerland. In June recently welcomed cellist Jeff Portland, ME. Last summer, I mar- began serious study of the 13-stringed he recorded Beethoven piano sonatas Zeigler (BM ’95) as the newest ried Briton Vitalius, and we honey- Japanese koto this summer. for the feature filmThe Quiet, which member of their group. mooned on an antique schooner off will be released in spring 2006 by the coast of Main. In September, I Anthony Dean Griffey (MM ’01) Sony Pictures. In June he gave a lec- won a position with the Portland sang the title role in the Santa Fe ture demonstration at the Levine 2000s Symphony Orchestra. I play with Opera’s production of Benjamin School in Washington, DC, and the Improvisational String Quartet, Britten’s Peter Grimes this August. returned to the Netherlands where Jennifer Emma Alhart (MM ’00) consisting of an upright bass, fretless Musical America raved that Tony sang he performed with violinist Christina and James Andrew Davis were mar- resonator guitar, classical violin, and with “lyricism and elegance of dic- Hoefer of the Holland Symofonia. ried on July 1, 2005. Jennifer teaches classical guitar, and I have a studio of tion” and called his voice “inherently at the Chautauqua Lake Central 30 students at home.” expressive in its timbre.” Jason van Eyk (MM ’98) completed School in Mayville, NY. an MBA specializing in Arts and John Matthew “Matt” Curlee Megan Hall-Guinn (BM ’04) Media Management and concen- Bassist Marissa Arciola (BM ’03) (BM ’99, MA ’01), director of music recently started work as an admin- trating in Marketing Management spent the summer of 2005 intern- and organist at St. Joseph’s Catholic CONTINUED ON PAGE 48

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CONTINUED FROM PAGE 47 On July 24, pianist-composer Daniel istrative assistant for Shuman Pesca (BM ’05) gave a recital includ- Associates, a classical music PR firm ing some of his own music in his in New York City whose clients hometown of Huntsville, AL. An include the Cleveland, Atlanta, and interview in the Huntsville Times San Francisco Symphony Orchestras. included high praise from Daniel’s teachers Robert Morris and Carlos Erin Horner (MM ’03) has been Sanchez-Gutierrez, and Daniel’s self- awarded the second horn posi- assessment: “My style is very much tion in the Chattanooga Symphony in flux because I’m young…I haven’t Orchestra. found a consistent voice yet—but I’m not worried about that now.” After receiving her master’s from the New England Conservatory horn Alexandra Phillips (BM ’00) per- player Maria Harrold (BM ’03) formed the role of Amy in Knoxville spent the summer of 2005 play- Opera’s production of Mark Adamo’s ing at the Spoleto Festival and the Little Women in November. Tanglewood Festival. She is an extra player for the Boston Symphony Percussionist Alex Postelneck Orchestra and an Orchestra Fellow at Seine lieber Schwan!: Dana Landis and Devon Sweedy. (BM ’00) was recently awarded the New World Symphony. a $20,000 senior performing arts where she will focus her learning on she is the assistant to the Artistic and fellowship through the University of This summer, Boram Kang (BM ’04) the country’s opera, language, General Director. Chicago and the American Institute won the competition at the Pacific and culture. for Indian Studies. This grant has Festival in Japan to be the concert- Pianist Michelle Lin (BM ’03) taken him to India, where he will master of the Orchestra and to be Dana Landis (BM ’02) and Devon began work as the Education spend 11 months doing research featured as a soloist in the perfor- Sweedy (BM ’01) got married on July and Community Engagement for a book and a DVD project, as mance of Strauss’ Ein Heldenleben. 16, 2005. The trombone choir at the Coordinator with the Nashville well as performing concerts in wedding included Michael Clayville Symphony this July, shortly after Kolkata, Mumbai, New Delhi, and Eastman’s Arts Leadership Program (BM ’00), Michael Selover completing her master’s degree at Madras. He will return to Eastman recently awarded a Post-Graduate (BM ’02), Robert Kastner (BM & the University of Michigan. to study percussion performance and Award to Caroline Kang (BM ’02) BA ’01), Stacy Werblin (BM ’01), ethnomusicology. who works as the Suzuki Department Christopher Beaudry (BM ’02, In May, vocalist (Jonathan) Adam Intern at the Levine School of Music MM ’03), Emory Burch (BM ’05), Martin (MM ’03) was married to fel- Anna Reguero (BA, BM ’05) is in Washington, DC. One of her proj- and Dan Pendley, playing music low musician Melissa Beth Zwicker. in the inaugural class of Syracuse ects will be creating a resource guide from Wagner’s Lohengrin arranged University’s Goldring Arts for parents on Suzuki education at by Devon; in keeping with the Soprano Susan Nelson (MM ’01) Journalism program. Goldring is the Levine School. Lohengrin theme, the couple built a sang Fiordiligi’s aria from Cosi Fan the first master’s degree program swan boat (and, we are happy to say, Tutte as part of the Opera Illinois sea- in arts journalism at an accredited sent Notes a picture of it; see above). son preview part in September. This journalism school. Devon adds, “I will start my new job past summer, she was a young artist as Assistant Music Librarian with with the Des Moines Metro Opera. Clarinetist Michelle Rewoldt- the United States Air Force Band in Procopio (BME ’02) is acting in a Washington DC in November. Dana Timothy Olsen (MM ’00, MA ’05, new play at the “Old Globe” theater will continue his successful freelanc- DMA ’05) has been appointed in Sand Diego and working as an ing career when we relocate.” University Organist and Assistant extra on the “Veronica Mars” televi- Professor of Music at Oklahoma sion show. She has been married to Rebecca Levy (BM ’02) gradu- City University. His duties include Todd Rewoldt for over three years. ated with her master’s degree overseeing the organ program for Grant Knox and Danielle in bassoon from the Cleveland bachelor’s and master’s degrees, serv- Trumpeter Daniel Rosenboom McCormick in She Loves Me (2003). Institute of Music in May 2004, and ing as organist for university-wide (BM ’04) recently released a CD with In November, Grant Knox (BM ’03, became a regular member of the functions such as matriculation ser- his band PLOTZ! “Imagine a blend MM ’05) appeared with the Oswego Civic Orchestra of Chicago for the vices and weekly chapel services, and of heavy metal and free improvised Opera Theatre in Lehar’s The 2004¬2005 season. From 2001¬03 playing for the annual Christmas jazz and ’Eastern’ sounding melodies Merry Widow. Grant now resides in she was the Bassoon Fellow at the program. He is involved in revamp- and harmonies,” says Dan. He Binghamton, NY, where he is a resi- Aspen Music Festival, and in 2004 ing the sacred music degree, and also currently teaches at the California dent artist with the Tri-Cities Opera spent another summer in Aspen— teaches in the theory department. State Summer School for the Arts Company, along with Robin Bricker this time on staff, as the Artist at California Institute of the Arts (MM ’01), James Barbato (BM ’03, Liaison. Actively pursuing a career In the past year, organist Jennifer in Valencia. MM ’05), and Danielle McCormick in arts administration, she was a Pascual (DMA ’01) has given recitals (BM ’03) finalist for the American Symphony at the International Bamboo Organ Saxophonist Josh Rutner was Orchestra League Management Festival in Manila, Philippines; St. recently profiled in aDemocrat Vocalist Maya Krivchenia (BM ’03) Fellowship in 2005. Last May, she John Lateran Basilica in Rome; and and Chronicle article that referred has received a Fulbright Scholarship joined the administrative staff of the cathedrals in Louisville, New York to his last two releases with the to study in Russia for 10 months, Grant Park Music Festival, where City, and Pittsburgh. Respect Sextet (which includes Eli

48 Eastman Notes | January 2006 PHOTOGRAPHS by GELFAND-PIPER PHOTOGRAPHY (KNOX AND MCCORMICK); COURTESY DEVON LANDIS

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 ALUMNI NOTES

Asher (MM ’02), James Hirschfeld (BM ’03), Malcolm Kirby (BM ’02), Ted Poor (BM ’03), and Red Wierenga (BM ’02)) as “immensely cool albums.”

Nicolas Scherzinger (MM & DMA ’00) received a Barlow Endowment Commission for an 8- to 10-minute piece for solo guitar, to be premiered by Ken Meyer (MM ’96, DMA ’00). Nicolas is assistant pro- fessor and chair of composition and theory at Syracuse University’s Setnor School of Music, where Ken is an affiliate artist.

Brett Shurtliffe (BM ’01) was named First Prize Winner in the 2005 International Society of Bassists Orchestral Competition, held in June at Michigan State University. Brett was awarded an apprenticeship with the Detroit Symphony Orchestra and a new bow.

The Augusta (GA) Symphony Dramatic duo: prizewinning pianists Marina Lomazov and Joseph Rackers. Orchestra has appointed Nicholas Siedentrop (MM ’05) principal Atlanta, GA, where he performed for Sixth Biennial Ellis Duo Piano clarinet. Nicholas holds a bachelor’s the JELF board members. Ensembles Competition in April 2005. degree in clarinet performance from In May 2005 they traveled to Varna, the University of Illinois, and is com- Ming-Hsiu Yen (BM ’03) got her A recent story about the Williams­ Bulgaria, where they were invited pleting a master’s degree at Eastman. MM in Piano Performance and port (PA) Symphony Orchestra to teach and perform at the Second Composition from the University featured on the NEA website men- Varna International Master Class Debra Stanley (BM ’04) is in her of Michigan in 2005, and is cur- tioned a concert with violin solo- in Piano. But their happiest event second year in the Lieder class of rently a DMA student in composi- ist Jeff Thayer (BM ’98). The WSO occurred March 5, 2005, when Hartmut Höll and Mitsuko Shirai at tion there. She played her Balafan itself is filled with Eastman alumni, Marina and Joe exchanged mar- the Staatliche Hochschule für Musik with the University Symphony including principal oboe Sue Laib riage vows. They are both on the in Karlsruhe, Germany. She was Orchestra in February, and gave a (BM ’80), hornist Rebecca Anstey piano faculty of the University of recently invited to work with the piano recital in April. In March, the (MM ’94), and bassoonists Richard South Carolina. great singer-scholar Dietrich Fischer- Yin Qi Symphony Orchestra pre- Campbell (BM ’58) and Mahlon Dieskau for three weeks in Berlin, miered her Let All Mortal Flesh Keep Grass (DMA ’82). The orchestra On October 16, Luminus—a piano culminating in a public master class Silence in Taipei, Taiwan. In May, gave the Pennsylvania premiere of trio including violinist John Rumney and performance. her piano solo Movements was pre- Joan Tower’s Made in America on (BM ’85, MM ’91, DMA ’93)— sented by the Society for Chromatic October 11, 2005. performed a concert of music by The Charlotte (NC) Symphony has Art in New York; Sorrowful Beauty Mendelssohn, Turina, and Haydn at announced that Kirsten Swanson for Clarinet and string quartet was The Lenti Piano Duo—otherwise Valley City (ND) State University. (BM ’04) has been named acting awarded Second Prize at the Second known as Tony (BM ’67, MM ’69, assistant principal viola, in which Sun River Composition Competition DMA ’79) and Marianne (BM ’68, Alarm Will Sound—the ace new- capacity she will serve for the and had its Asian premiere. During MM ’70, DMA ’79) Lenti—was music ensemble that began at remainder of the 2005¬2006 con- summer 2005, Ming-Hsiu premiered recently named to Steinway & Sons’ Eastman—performed music by a tract year. pieces written by Christopher Dietz, International Artist Roster. Their typically atypical pair of composers Jeff Myers, Tim Sullivan, and herself predecessors include Rachmaninoff, this year; last February, at Columbia Gwen Burgett Thrasher (BM ’01) with the Re-source Ensemble. Icicles Cole Porter, Duke Ellington, Daniel University’s Miller Theater, the sends word of her recent marriage was presented at the 2005 Electronic Barenboim, and Maurizio Pollini, to group presented a tribute to Conlon to Ryan Thrasher, and that she was Music Midwest Festival, and the name a few. The duo has four CDs Nancarrow; in July, as part of the just hired as Assistant Professor Prism Saxophone Quartet will pre- in current release, and plans a fifth Lincoln Center Festival, it gave a of Percussion at Michigan State miere a piece by her in May 2006. release in 2007. For more informa- concert of music Richard D. James, University. tion on Tony and Marianne, visit known also (but not exclusively) as Peter Zlotnick (BM ’03) recently www.lentipianoduo.com. Aphex Twin—also the subject of a Pianist Benjamin Warsaw (BM ’05) won the principal timpani posi- new Canteloupe CD, Acoustica. received a two-year loan from the tion with the Greensboro (NC) Marina Lomazov (BM ’03, For information on Alarm Will Jewish Educational Loan Foundation. Symphony and will be moving there DMA ’00) and Joseph Rackers Sound’s February 2006 concert at In November, the JELF graciously next year. He is currently completing (MM ’01, DMA ’05) were awarded Carnegie Hall, see “Coming Events” flew Ben back to his hometown, his MM at Northwestern University. the Second Prize of $5000 in the on page 2.

January 2006 | Eastman Notes 49

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 FACULTY NOTES

Assistant Professor of Chamber Associate Professor of Jazz Studies Music and Accompanying Sylvie and Contemporary Media Clay Beaudette (DMA ’93), along with Celebrating service Jenkins is celebrating the 20th anni- soprano Eileen Strempel (BM ’88) versary of the Clayton/Hamilton and violinist Pia Liptak, performed At the first faculty meeting 15 years Jazz Orchestra with several con- music by Rebecca Clarke at a Theory of the 2005–2006 academic Tony Caramia, piano certs through the year in America and Feminism Conference hosted by year, the following faculty and Europe, climaxing in a Kennedy New York University in June. Jean Pedersen, humanities Center concert on February 9¬11, members were recognized (history) 2006. Last summer, the group Professor of Percussion John for their years of service: recorded a Christmas album with Beck tells Notes: “I attended the 10 years Diana Krall. International Timpani Competition 35 years in Paris from November 11¬20, 2005 Thomas Schumacher, piano Assistant Professor of Saxophone as a judge, clinician, and soloist. I Barry Snyder, piano Kenneth Grant, clarinet Chien-Kwan Lin was profiled in the performed with the Big ’N’ Bang Per­ June 2005 issue of Saxophone Journal. cussion Group from Croatia. The 30 years 5 years His recent performances include solo is a multiple percussion piece I Ralph Locke, musicology a recital at the 28th International wrote called Rhythmitis. I gave a tim- Hans Davidsson, organ Saxophone Symposium, Fairfax, VA pani/cymbal clinic to the competi- Clay Jenkins, jazz studies (January 2005) and a master class tion participants.” 25 years and contemporary media at the University of Cincinnati’s Ellen Koskoff, musicology Martin Scherzinger, College¬Conservatory of Music Professor of Violin Lynn Blakeslee Rebecca Penneys, piano (April 2005); he’s also heard on was one of the master string play- musicology the premiere recording of David ers on the faculty of RaabsMusik, Reinhild Steingröver, Liptak’s Serenade, conducted by the annual summer chamber music 20 years humanities (German) Brad Lubman. (See “Eastman faculty festival that takes place in a castle David Headlam, theory David Temperley, theory on CD.”) in Austria. Patrick Macey, musicology Professor of Composition David “Music for a Revolution” was pre- Elizabeth Marvin, theory Liptak composed Three Dances for sented by Assistant Professor of Orchestra for the 50th anniversary Percussion Ruth Cahn and her season of the University of Rochester husband Bill Cahn (BM ’68)—not of the opera Felice, by Distinguished from Tampa, FL to West Hartford, Symphony Orchestra. The work was songs by the Beatles or punk rock- Professor of Voice Benton Hess. The CT. He remains very active as a pia- premiered on October 22, conducted ers, but fife and drum music heard entire festival was coordinated by nist and arranger, performing for the by David Harman (DMA ’74). by Colonial soldiers in camp. The Mario Martinez (MM ’99). Palo Alto, CA, Jazz Alliance in March Cahns’ presentation took place April 2005, Swing ’n’ Jazz VIII in June Professor of Musicology Ralph 21, 2005 at the East Bloomfield (NY) Professor of Cello Steven Doane was 2005 (Rochester), and the Schroon Locke’s spring included two oper- Academy Museum. recently named the new cellist of the Lake, NY Boathouse Concert Series. atic presentations: a talk before the Los Angeles Piano Quartet, replacing Azzara was also featured performer Canadian Opera Company’s pre- Associate Professor of Theory Peter Rejto. and clinician for the Williamsville sentation of Rossini’s Tancredi in Norman Carey started the Central School District Jazz Festival. April; and in May, the Donald Jay Canandaigua Lake Chamber Music Professor of Viola John Graham Grout Lecture at Cornell University Festival, which ran from August is adept at words and music: he Grunow and Azzara both had arti- on Verdi’s Aida and 19th-century 19¬28, 2005 with Ensemble-in-resi- wrote the Forward to Playing cles published this summer in The attitudes towards empire and non- dence the Corigliano Quartet. and Teaching the Viola, published Development and Practical Application Western peoples. Locke was also this fall by the American String of Music Learning Theory (GIA highly praised for his chapter in the Professor of Violin Charles Teachers Association; and com- Publications, Inc.), and both had recent book Teaching Music History, Castleman was invited to take part posed incidental music for a new a hand in two fall 2005 book/CD edited by Mary Natvig (BM ’81, in the George Rochberg Memorial play, Leavesakes by Rachel Martin, publications from GIA—Developing MA ’82, PhD ’91). Concert at Carnegie Hall’s Weill presented in November at Indiana Musicianship Through Improvisation Recital Hall on December 28, taking State University. and Jump Right In: The Instrumental Associate Professor of Anthropology part in performances of Rochberg’s Series Solo Books for Strings— and Religion Ernestine McHugh Piano Quintet and Bocca della verità. In the past several months, Richard Grunow as writer, Azzara as pianist was cited in the latest edition of Rochberg, who died in the summer Grunow, Professor of Music on the CDs. Who’s Who Among America’s Teachers. of 2005, was one of America’s most Education, has given presentations In the past year she published the distinguished composers. on instrumental music instruction Professor of Organ David Higgs’ busy articles “From Margin to Center: from Vilnius (Lithuania) to Virginia. recital schedule this fall included ’Tibet’ as a Feature of Gurung Nazareth College’s fifth annual Christopher Azzara, Associate performances at Notre Dame Identity” in Tibetan Borderlands Vocal Fest had a strong involvement Professor of Music Education, was University, Vassar College, Eastman’s (Brill Academic Publishers), and from Eastman faculty and alumni. on a leave of absence in spring 2005, EROI Festival (see p. 15), Walt Disney “Holiness in Practice: Coming to Associate Professor of Opera Steven but he remained busy as a writer, Concert Hall in Los Angeles, and Know a Jogini” in Bridges to Humanity Daigle gave a workshop on audi- presenter, and pianist. Besides sev- two inaugurals: at Twelve Corners (Waveland Press). tioning and anxiety management, eral seminars, classes, and work- Presbyterian Church in Rochester, and the Nazareth Opera Workshop shops in Rochester, Azzara visited and Pinnacle Presbyterian Church in Professor of Lute and of Conducting gave the New York State premiere schools throughout the East Coast, Scottsdale, AZ. and Ensembles Paul O’Dette is also

50 Eastman Notes | January 2006

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 FACULTY NOTES

an increasingly accomplished con- In April, Professor of Double ductor of Baroque opera. O’Dette Bass James VanDemark gave the was one of the music directors for Canadian premiere of Circle of Faith Eastman faculty the summer 2005 Boston Early by the late Alton Clingan (BM Music Festival production of Johann ’93) (see “Showing Off,” p. 44). In Matheson’s Boris Goudenow (1710), April, he also gave the world pre- on CD unstaged for nearly 300 years. miere of by Nabaté Isles Boston Lessons Charles Castleman’s contribution to the Music & Arts Globe critic Richard Dyer called (BM ’99) on an Eastman Virtuosi it “continuously pretty, inventive, concert. He will also executive pro- CD tribute to the Hungarian violinist Jeno Hubay (M&A and charming … The crowd roared duce the long form music video for 1164, mentioned in our last issue) has been extravagantly its loudest when co-musical direc- Constantinople by Christos Hatzis praised. Castleman’s playing of Hubay’s virtuosic Scènes tors Paul O’Dette and Stephen (BM ’76, MM ’77), directed by de la Csárda was “urgently recommended” by Fanfare Stubbs appeared onstage at the end. renowned Canadian director Bruce Either could have seized the scep- MacDonald (Lonesome Dove, Queer as magazine, and Classical Net reviewer Raymond Tuttle ter and been proclaimed Czar.” (See Folk, Highway 61). opined, “The only way Castleman could exceed his “Eastman Faculty on CD.”) achievement here is if he were born a Hungarian!” Professor of Theory Robert Wason Assistant Professor of Jazz Studies won a 2005 Deems Taylor Award for Two Eastman composers have and Contemporary Media Dave excellence in writing about music, had collections of their music Rivello—and his Ensemble—kicked for his liner notes for Henry Martin: off the 2005 Summer Jazz Institute Preludes and Fugues Part 2, released recently released on CD. Albany for teenage musicians, sponsored by by Bridge Records. Records’s Music of Robert Proctor’s Theatre in Schenectady, NY Morris includes six pieces by the from July 18-22. In August 2005, Professor of former Composition Department Voice Carol Webber was the Associate Professor of Composition opening Master Class Presenter at chair: Still and Meandering River Carlos Sanchez-Gutierrez was the International Vocal Teachers for piano; On the Go for clarinet solo; Fourteen Little recently appointed Senior Composer Congress, held in Vancouver, BC, Piano Pieces; Out and Out for clarinet and piano; and for the Young Artists Program in attended by 500 teachers from 27 About the Same for computer-generated sounds. The his native Mexico. The three-year countries. After the enthusiastic appointment involves selecting response to her class, Carol was performing roster includes pianists Solungga Fang-Tzu and mentoring six young compos- asked to do a second session, Liu (MM ’96, DMA ’01) and Margaret Kampmeier (BM ’85) ers annually. Carlos’ music was focusing on the planning and and clarinetist Marianne Gythfeldt (BM ’88). (TROY 779) performed throughout the world delivery of the hour lesson for in 2005, and recent commissions newer teachers. A Bridge Records collection of include an opera, The Martyr, a music by current chair David chamber work for the Continuum Professor of Musicology Gretchen Liptak comprises Broken Cries Ensemble and the Society for New Wheelock’s presentations this Music, and works for solo marimba year included “Don Giovanni as for cello octet; Ancient Songs and two celli and piano Voiceless Opportunist,” in April at for baritone and ensemble, the University of Minnesota’s In with soloist William Sharp (MM Professor of Conducting Mark Search of Don Giovanni; “Mozart’s ’76); Forlane for guitar; and Davis Scatterday was a special Fantasy, Haydn’s Caprice: What’s guest at the Grand Opening Concert in a Name?” at this fall’s confer- Serenade for Alto Saxophone and Strings, conducted of Karuizwa Ohga Hall in Japan— ence The Century of Bach and Mozart by Brad Lubman with soloist Chien-Kwan Lin. Rochester where Scatterday and the Eastman at Harvard University; and “ ‘How Democrat and Chronicle reviewer John Pitcher called Wind Ensemble are both very famil- to Read Music’: Malcolm Bilson this collection “music that’s as beautiful as any in the iar after their summer 2004 tour. and the Significance of Late 18th- Scatterday led the Karuizawa Junior Century Musical Notation,” at a sym- American canon.” (Bridge 9167) High School Band in a concert that posium honoring Bilson at Cornell included Color Prelude by Kyle Blaha University in October. The Boston Early Music Festival’s (BM ’04). productions of rare Baroque Assistant Professor of Cello David operas, with musical direction Professor of Piano Nelita True Ying (DMA ’92) and his wife, by Paul O’Dette, have become received the Lifetime Achievement Assistant Professor of Chamber Award from the National Society of Music and Accompanying Elinor eagerly awaited events. A record- Piano Teachers at their 2005 conven- Freer, began their first season as ing of the 2003 BEMF produc- tion in Chicago in August. Speakers artistic directors of the Skaneateles tion of Johann Georg Conradi’s at the event included Professors Festival in August 2005. The roster Ariadne (1691) was recently released on CPO 777073. of Piano Jean Barr, Thomas of performers for the popular festival Schumacher, and Fernando Laires, included the Ying Quartet, baritone Opera News praised the “spirit and precision” of the per- and the guests included piano Randall Scarlata (BM ’92), clarinet- formance, which was recently nominated for a Grammy. department Co-Chair Douglas ist Michael Webster (BM ’66, MM Humpherys and Academic Dean ’67, DMA ’75), and cellist Thomas Jamal Rossi. Wiebe (BM ’89).

January 2006 | Eastman Notes 51

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 STUDENT NOTES

The Rochester Philharmonic’s The group recently recorded Steve November 2005 concert “Mozart Reich’s Drumming on a critically and the Opera” featured selections hailed Cantaloupe CD. (“So,” by the from The Magic Flute, conducted by way, is Japanese for “play.”) Christopher Seaman and performed by a roster of Eastman student Percussionist Colin Tribby recently singers including sopranos Halley completed his first season with the Gilbert, Susan Hochmiller, and North Carolina-based Open Dream Susan Lamberson; mezzo-sopranos Ensemble. ODE is a project of the Jacqueline Book and Emma Char; Thomas S. Kenan Institute for the tenors Sean Brabant, Bernard Arts, a program of the North Carolina Holcomb, and Min Jin; baritones School of the Arts, which combines John Buffett and Zach Palamara; dance, music, drama, and design into and bass Marc Webster. unified artistic productions. ODE also performs artist residencies through- Violist Marc Anderson, a master’s out the North Carolina Public School student and Orchestral Studies System. In July 2006, ODE kicks off Diploma candidate, recently won its second season at the Illuminations a one-year appointment to the Festival in the Outer Banks of North Rochester Philharmonic Orchestra— Carolina. Senior pianist Jonathan the first Orchestral Studies student Percussionist Colin Tribby is living the (Open) Dream. Ware won first place in the 2005 to do so since the program was Kingsville (TX) International Young founded in 1999. some of it for purchasing music and ners performed in two recitals at Performers Competition. He received instruments. Carnegie Hall. $5,900 and an opportunity to perform Violinist Heather Braun was con- with the Corpus Christi Symphony certmaster of the Tanglewood Music Kevin T. Chance, a doctoral student The Akron Beacon Journal review Orchestra during its 2005¬06 season. Center Orchestra in the summer of Barry Snyder, recently joined the of Gilbert and Sullivan’s Iolanthe, The Competition awarded more than of 2005. A photo of Heather being music faculty of the Alabama School performed last summer at Ohio $25,000 to young instrumental per- greeted by former Boston Symphony of Fine Arts in Birmingham. At Light Opera, singled out baritone formers under age 26. Orchestra music director Seiji Ozawa Eastman, Kevin also won the Jerald Jonathan Michie as Strephon, prais- was printed in the July 28, 2005, C. Graue Fellowship for Excellence ing not only his “lustrous, unforced Marc Webster and Jonathan Michie Boston Globe. in Musicology, and was nominated tone” but his “impressively plummy were chosen by Eastman’s voice faculty for an Excellence in Graduate English accent.” Joining Jonathan was to compete in the Marilyn Horne Foun- Douglas Brown, a junior music Teaching Award. soprano Danielle McCormick (BM dation’s annual celebration in January. education/percussion major, won the ’03) as a “vocally arresting” Phyllis. Marc was chosen for the seminar, and George P. Contreras, Jr. Award of the DMA student Beata Golec (also Jonathan is first alternate. The Foun- Percussive Arts Society. The award MM ’05) was one of 28 winners DMA student Doug Perkins is per- dation’s evening concerts feature per- supported Doug’s attendance at this in the Bradshaw and Buono Piano forming around the United States formances by three Eastman alumni: fall’s PAS Conference in Columbus, Competition, held in New York in So Percussion, one of the coun- Nicole Cabell (BM ’01), Ian Greenlaw OH, and he also planned to use City in May 2005. The 28 win- try’s very few percussion ensembles. (BM ’95), and Nate Webster (BM ’97).

Friends and winners Soprano Lara Cottrill (in red), a student of Carol Webber, took the Lynne Clarke Vocal Prize of $800 at the fifth annual Friends of Eastman Opera Voice Competition, held on Saturday, November 19, 2005 in Kilbourn Hall. Lara performed arias from Donizetti’s Linda di Chamounix, Puccini’s Gianni Schicchi, and Mozart’s Magic Flute. Mezzo-soprano Jennifer Berkebile (in black), student of Rita Shane, took second place ($500); and baritone Jonathan Michie, also a student of Carol Webber, took third prize ($400). Competition adjudicator William Florescu, of Milwaukee’s Florentine Opera, commented, “Eastman is doing a great job of preparing young vocal artists.”

PHOTOGRAPH BY KURT BROWNELL

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Photo by Lou Ouzer



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EFSibleyAd.indd 1 12/6/05 12:28:16 AM

Project number: 2005005 Project: EASTMAN NOTES JANUARY 2006 Draft: Fourth Date: 1/15/2006 Everybody loves Fritz

Mercury Opera, Rochester’s new professional opera company, debuted in October with an opera rarely heard in America—Pietro Mascagni’s romantic comedy L’Amico Fritz (1893)—and with help from many Eastman alumni.

The opera’s title might be translated as Everybody Loves Fritz—the title character, an unfailingly kind and generous bachelor (guest artist Broadus Hamilton), takes most of the opera’s three acts to realize that he is in love with a farmer’s daughter named Suzel (Jennifer Gliere, MM ’03, DMA ’05, in her professional debut). Broadus and Jennifer are pictured here.

The story was guided to a happy ending by Mascagni’s graceful score and the efforts of many other Eastman alumni, including music director Gerard Floriano (MM ’86, DMA ’95), stage director JJ Hudson (DMA ’04, MM ’05), and lead performers Mario Martinez (MM ’99) and Danielle Falco Frink (MM ’99).

PHOTOGRAPH BY JERRY WOLF

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